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WiBSTER.N.Y.  14580 

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CIHM/ICMH 

Microfiche 

Series. 


CIHM/ICIVIH 
Collection  de 
microfiches. 


Canadian  Institute  for  Historical  Microreproductions  /  Instltut  Canadian  de  microreproductions  historiques 


Tschnical  and  Bibliographic  Notaa/Notaa  taehniquat  at  bibliographiquaa 


Tha  CO 
to  tha 


Tha  Inttituta  haa  attamptad  to  obtain  tha  baat 
original  copy  availabia  for  filming.  Faaturaa  of  thia 
copy  which  may  ba  bibliographically  uniqua, 
which  may  altar  any  of  tha  Imagaa  in  tha 
raproduction,  or  which  may  significantly  changa 
tha  usual  mathod  of  filming,  ara  chackad  balow. 


□    Colourad  covars/ 
Couvartura  da  coulaur 


r~1   Covars  damagad/ 


Couvartura  andommagAa 


□   Covars  rastorad  and/or  laminatad/ 
Couvartura  rastaurte  at/ou  palliculAa 

□    Covar  titia  missing/ 
La  titra  da  couvartura  manqua 


L'Inatitut  a  microfilm*  la  maillaur  axampiaira 
qu'il  lui  a  itt  possibia  da  sa  procurar.  Las  details 
da  cat  axampiaira  qui  sont  paut-Atra  uniquas  du 
point  da  vua  bibliographiqua,  qui  pauvant  modifier 
una  imaga  raproduita,  ou  qui  pauvant  axiger  una 
modification  dans  la  mithoda  normala  da  filmaga 
sont  indiquis  ci-dassous. 


□   Colourad  pagas/ 
Pagaa  da  coulaur 

□    Pagaa  damagad/ 
Pagas  andommagias 

□    Pagas  raatorad  and/or  laminatad/ 
Pagas  raataurias  at/ou  palliculAas 

r~~|xPagas  discolourad.  stainad  or  foxad/ 
IVi    Pagas  dAcolorias,  tachatias  ou  piquies 


Tha  inn 
possib 
of  tho 
filmini 


Origini 
baginr 
thalai 
sion,  c 
othar ( 
firat  pi 
aion,  a 
or  illui 


I — I   Colourad  mapa/ 


D 


Cartaa  giographiquaa  an  coulaur 


Colourad  ink  (i.a.  othar  than  blua  or  black)/ 
Encra  da  coulaur  (i.a.  autra  qua  blaua  ou  noira) 


□    Pagas  datached/ 
Pagas  ditachies 

r~l^Sho  wth  rou  gh/ 
\2Lj    Transparanca 


Tha  la 
ahall  c 
TINUE 
which 


I — I   Colourad  plataa  and/or  illuatrationa/ 


D 
D 


D 


Planchaa  at/ou  illuatrationa  ^n  coulaur 


Bound  with  othar  matarial/ 
Ralli  avac  d'autras  documants 


Tight  binding  may  cauaa  shadows  or  diatortion 
along  intarior  margin/ 

La  r^  liura  sarria  paut  eauaar  da  I'ombra  ou  da  la 
diatorsion  !•  long  do  la  marga  intftriaura 

Blank  laavaa  addad  during  rastoration  may 
appaar  within  tha  taxt.  Whanavar  poaaibla.  thasa 
hava  baan  omittad  from  filming/ 
II  sa  paut  qua  cartainaa  pagaa  bianchaa  ajoutiaa 
lora  d'una  raatauration  apparaiaaant  dans  la  taxta. 
maia.  lorsqua  eala  Atait  possibia.  caa  pagaa  n'ont 
paa  it*  filmias. 


□    Quality  of  print  varias/ 
Qualit*  inigala  da  I'imprassion 

r^l^lncludaa  supplamantary  matarial/ 
L_J   Comprand  du  material  supplimantaira 

[~~|    Only  adition  availabia/ 


D 


Saula  Mition  disponibia 

Pagas  wholly  or  partially  obscurad  by  errata 
slips,  tissues,  etc.,  hava  been  refilmed  to 
ensure  the  best  possible  image/ 
Lea  pagaa  totalament  ou  partiellement 
obscurcies  par  un  feuillet  d'errata,  una  pelure, 
etc..  ont  iti  filmies  A  nouveau  da  fapon  i 
obtanir  la  mailleura  imaga  possible. 


Maps, 
diffar« 
antiral 
bagln^ 
right  i 
raquirj 
moth( 


D 


Additional  commenta:/ 
Commantairea  suppiimantairea: 


Thia  item  is  filmed  at  tha  reduction  ratio  checked  below/ 

Ce  document  est  film*  au  taux  da  riduction  indiqu*  ci-deaaoua. 

10X  14X  18X  22X 


26X 


30X 


y 


12X 


16X 


20X 


24X 


28X 


32X 


ire 

details 
es  du 
modifier 
er  un« 
filmage 


The  copy  filmed  here  has  been  reproduced  thanks 
to  the  generosity  of: 

iMttropolitan  Toronto  Library 
FiiM  Art  Dapartmant 

The  images  appeering  here  are  the  best  qrjaiity 
possible  considering  the  condition  and  legibility 
of  the  original  copy  and  in  keeping  with  the 
filming  contract  specifications. 


L'exempiaira  film*  f ut  reproduit  grice  i  la 
gAnirositA  de: 

Matropolltan  Toronto  Library 
Fina  Art  Dapartmant 

Les  images  suivantes  ont  At*  reprodultes  svec  le 
plus  grand  soln,  compte  tenu  de  la  condition  at 
de  la  nettet*  de  l'exempiaira  film*,  at  en 
conformity  avec  les  conditions  du  contrat  de 
filmage. 


tea 


Original  copies  in  printed  paper  covers  are  filmed 
beginning  with  the  front  cover  and  ending  on 
the  last  page  with  a  printed  or  illustrated  impres- 
sion, or  the  back  cover  when  appropriate.  All 
other  original  copies  are  filmed  beginning  on  the 
first  page  with  a  printed  or  illustrated  Impres- 
sion, and  ending  on  the  last  page  with  a  printed 
or  Illustrated  impression. 


Les  exemplalres  originaux  dont  la  couverture  en 
papier  est  ImprimAe  sont  filmte  en  commen^ant 
par  le  premier  plat  at  en  terminant  soit  par  la 
derniAre  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustration,  soit  par  le  second 
plat,  salon  le  cas.  Tous  les  autree  exemplalres 
originaux  sont  filmAs  en  commenpant  par  la 
premiere  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustration  at  en  terminant  par 
la  dernlAre  page  qui  comporte  une  telle 
empreinte. 


The  last  recorded  frame  on  each  microfiche 
shall  contain  the  symbol  — »•  (meaning  "CON- 
TINUED"), or  the  symbol  y  (meaning  "END"), 
whichever  applies. 


Un  des  symboles  suivants  apparaltra  sur  la 
dernlAre  image  de  cheque  microfiche,  seion  le 
cas:  le  symbols  — ►  signifie  "A  SUIVRE",  le 
symbols  ▼  signifie  "FIN". 


re 


IMaps,  plates,  charts,  etc.,  may  be  filmed  at 
different  reduction  ratios.  Those  too  large  to  be 
entirely  included  in  one  exposure  are  filmed 
beginning  in  the  upper  left  hand  teorner.  left  to 
right  and  top  to  bottom,  as  many  frames  as 
required.  The  following  diagrams  illustrate  the 
method: 


Les  cartee,  planches,  tableaux,  etc.,  peuvent  Atre 
flimAs  A  des  taux  de  reduction  diffirents. 
Lorsque  le  document  est  trop  grand  pour  itre 
reproduit  en  un  seul  clichA,  11  est  film*  *  partir 
de  i'angie  sup*rleur  gauche,  de  gauche  h  droite, 
et  de  haut  en  bas,  en  prenant  le  nombre 
d'images  n*cessaire.  Les  diagrammes  suivants 
iliustrent  la  m*thode. 


y  errata 
td  to 

It 

le  peiure, 

qon  i 


n 


32X 


1  2  3 


1 

2 

3 

4 

5 

6 

«jLA.i«*iil^:MA 


Pa 


American  Library  A ssociation  Annotated  Lists 


Annotated  Bibliography  of 


FINE  ART 


Paintings  Sculpture,  Architecture,  Arts  of  Decoration  and 

Illustration 

BY    RUSSELL   STURGIS 


Music 
BY  HENRY  EDWARD  KREHBIEL 


I 


Edited  by  GEORGE  ILES 


BOSTON 

146  Franklin  Strkkt 

Published  for  the  American  Library  Association  Publishing  Section  by 

THE    LIBRARY   BUREAU 
1897 
New  York:  280  Broadway  Piiii.adeli'hia  :  112  North  Broad  Street 

Chicago;  2x5  Madison  Street  Washington,  D.  C:  1416  F  Street. 

St.  Louis  :  Security  Building  London  :  10  Bloomsbury  Street,  W.  C. 

Price,  Fifty  Cents  in  Paper ;  $1.00  in  Cloth 


Coi'YKKillT.    lSy7, 

By  tuk  Amkrican  Lihrary  Association 


f  7^ 


PREFACE. 

In  this  bibliography  Mr.  Russell  Sturgis  and  Mr.  Henry  E.  Krehbiel  place 
Ibefore  readers,  students,  and  librarians  a  thousand  carefully  chosen  works  on  Fine 
Art,  with  descriptive,  critical,  and  comparative  notes.  They  thus  enlarge  five-fold 
their  contributions  to  "The  List  of  Books  for  Girls  and  Women  and  Their  Clubs," 
published  by  the  American  Library  Association  m  1895.  The  notes  here  given 
incidentally  offer  many  important  canons  of  art  criticism,  and  may  well  tempt 
readers  to  consecutive  perusal.  To  librarians  who  wish  to  select  books  beyond  the 
thousand  here  presented,  the  pages  which  follow  contain  valuable  indication  —  as  in 
setting  forth  he  Avery  catalogue,  on  p.  38.  The  competent  and  helpful  appraisal 
of  literature,  ow  fairly  begun  by  the  American  Library  Association,  it  hopes  to  see 
extended  in  the  near  future.  During  1897  it  is  expected  that  an  appendix  may 
he  issued  to  "  The  Reader's  Guide  to  Economic,  Social,  and  Political  Science," 
published  by  the  Society  for  Political  Education  in  1891.  Within  a  year  or  two 
there  is  promise  that  an  annotated  bibliography  of  American  history  may  be  taken 
in  hand,  and  also  a  similar  guide  to  the  literature  of  certain  important  fields  of 
applied  science.  In  the  fulness  of  time  it  may  be  possible  thus  to  appraise  every 
Avorthy  book  shortly  after  its  publication  ;  and,  in  addition  to  the  issue  of  the  notes 
in  book-form,  to  distribute  them  on  cards  to  follow  title  cards  in  the  catalogue  cases 
of  public  libraries  and  to  be  pasted  in  the  books  appraised.  This  plan  would  proffer 
guidance  at  the  most  effective  points. 

The  numbers  which  follow  the  notes  are  those  of  the  Dewey  Classification. 

The  index  is  by  Mrs.  Mary  E.  Haines,  of  Brooklyn,  N.  Y. 


Mr.  Russell  Sturgis  pursued  the  study  of  architecture  in  an  architect's  office 
in  New  York,  and  for  a  year  and  a  half  in  Europe.  He  ,^ractised  his  art  from  1865 
to  1878,  during  which  time  he  designed  mnny  important  buildings,  including  Battell 
Chapel,  Farnam  Hall,  Durfee  Hall,  and  Lawrance  Hall  of  Yale  College  ;  the 
Homoeopathic  Medical  College  and  Flower  Hospital,  New  York  ;  the  Mechanics' 
and  Farmers'  Bank  at  Albany  ;  and  churches,  business  buildings,  and  residences  in 
New  York,  Albany,  Aurora,  Tarrytown,  and  Watertown,  N.  Y. ;  New  Haven, 
Farmington,  and  Litchfield,  Conn  ;  Minneapolis  and  Louisville. 

In  1878  Mr.  Sturgis  spent  some  months  in  France.  In  1880  he  retired  from 
business  on  account  of  weak  health  and  went  to  Europe.  He  resided  abroad  about 
five  years,  during  which  period  he  renewed  his  early  studies,  and  spent  much  time 
in  the  important  architectural  centres  and  cities  rich  in  collections  of  fine  art.  He 
is  a  Fellow  of  the  American  Institute  of  Architects  ;  Life  Member  of  the  American 
Numismatic  and  Archaeological  Society  ;  Honorary  Fellow  of  the  Brooklyn  Institute 
of  Arts  and  Sciences  ;   Fellow  in  perpetuity  and  Member  of  the  Corporation  of 


Preface. 

the  Metropolitan  Museum  of  Art  ;  Fellow  of  the  National  Academy  of  Design  ; 
Honorary  Member  of  the  National  Society  of  Mural  Painters.  He  is  an  active 
member  of  the  Architectural  League,  the  Grolier  Club,  and  the  Municipal  Art 
Society,  of  New  York  ;  the  Arch.xological  Institute  of  America,  and  the  National 
Sculpture  Society ;  the  Japan  Society,  and  the  Society  for  the  Promotion  of 
Hellenic  Studies,  of  London.  He  has  been  President  of  the  Fine  Arts  Federation 
of  New  York  since  its  establishment.  At  the  reorganization  of  the  American 
Institute  of  Architect;,  in  1868,  when,  from  a  New  York  Society,  it  became  an 
orfi[anization  with  Chapters  m  the  principal  cities,  he  was  Secretary  of  the  Institute 
while  the  elder  Upjohn  was  President  and  R.  G.  Hatfield  Treasurer.  F'rom  the 
organization  of  the  Metropolitan  Museum  of  Art,  in  1870,  he  was  an  active  member 
of  the  Executive  Committee  for  several  years.  From  1888  he  was  President  of  the 
Architectural  League  of  New  York  for  four  terms. 

Mr.  Sturgis  has  written  much  for  periodicals,  and  has  delivered  many  public 
lectures  as  well  as  addresses  before  the  numerous  societies  with  which  he  is 
affiliated,  his  subject  being  always  connected  with  the  F'ine  Arts  and  especially 
the  arts  of  decorative  design.  He  was  Editor  for  Decorative  Art  and  Medi?eval 
Archaeology  of  the  Century  Dictionary  ;  Editor  for  the  Fine  Arts  of  Webster's 
International  Dictionary,  published  in  1890;  and  Editor  for  Architecture  and  Fine 
Art  of  Johnson's  Universal  Cyclopaedia,  edition  of  1893-95.  In  October,  1896,  was 
published  his  "  European  Architecture  :  A  Historical  Study." 

Mr.  Henry  Edward  Krehbiel  was  born  in  Ann  Arbor,  Mich.,  March  10, 
1854.  In  1874  he  became  connected  with  the  musical  department  of  the  Cincinnati 
Gazette.  In  the  College  of  Music,  Cincinnati,  organized  by  Theodore  Thomas,  he 
was  for  a  time  Professor  of  Musical  History.  In  1880,  on  the  invitation  of  the  Hon. 
Whitelaw  Reid,  he  became  Musical  Editor  of  the  New  York  Tribune  ;  his  articles 
in  that  journal  have  accredited  him  as  one  of  the  best  informed  and  soundest  of 
American  critics.  Mr.  Krehbiel  is  in  wide  acceptance  as  a  lecturer  as  well  as  a 
journalist.  In  both  capacities  he  addresses  himself  not  only  to  the  enlisted  students 
of  music,  but  to  that  much  more  numerous  public  which  desires  to  add  to  its 
pleasure  by  listening  to  music  with  intelligence.  The  guidance  sought  at  his  hands 
in  the  formation  of  libraries  for  musical  clubs  has  largely  determined  his  selections 
in  the  present  bibliography.  His  published  works  are  :  "  An  Account  of  the  Fourth 
Cincinnati  Musical  Festival"  (1880);  "Notes  on  the  Cultivation  of  Choral  Music 
and  the  Oratorio  Society  of  New  York  "  (1884);  "  Studies  in  the  Wagnerian  Drama" 
(1891);  "  Review  of  the  New  York  Musical  Seasons,  1885-1890,"  5  vols.;  "The 
Philharmonic  Society  of  New  York:  A  Memorial"  (1892);  "How  to  Listen  to 
Music"  (1896).  In  1880  he  translated  and  edited  "The  Technics  of  Violin 
Playing,"  by  Karl  Courvoisier.  He  is  Consulting  Editor  of  "  Music  of  the  Modern 
World."  G.  I. 


FI 


4 


M 


I 


lemy  o(   Design  ; 

He  is  an  active 
le  Municipal  Art 
and  tlie  National 
:ie  Promotion  of 
i  Arts  Federation 
of  the  American 
ty,  it  became  an 
y  of  the  Institute 
surer.  From  the 
in  active  member 

President  of  the 

;red  many  public 
ith  which  he  is 
s  and  especially 
rt  and  Mediaeval 
rts  of  Webster's 
lecture  and  Fine 
ctober,  1896,  was 


lich.,  March  10, 
)f  the  Cincinnati 
dore  Thomas,  he 
ition  of  the  Hon, 
uHc  ;  his  articles 
and  soundest  of 
rer  as  well  as  a 
enlisted  students 
;s  to  add  to  its 
ight  at  his  hands 
ed  his  selections 
nt  of  the  Fourth 
)f  Choral  Music 
gnerian  Drama" 
'  s  vols.;  "The 
>w  to  Listen  to 
hnics  of  Violin 
;  of  the  Modern 
G.  I. 


CONTENTS. 


'1 


FINE   ART.     By  Russem-  Stukcis. 

Prefatory  Note  

Preliminary  Note  :  Periodicals  and  Books  in  Series    . 

Note  on  Translations 

Part       I.     Books  on   Fink  Art    in  a  (Jenkral   Sense  :    Books   of 
All  or  Many  of  the   Fine   Arts  Associated  Together 
Archaeology,  Glossaries  and  Dictionaries 
Preliminary  Note  :  Archteology      .... 
"  "        (ilossaries  and  Dictionaries 

Part     II.     Painting     and    Sculpture:      Kngravincj,     Etching 

Illustration  

Preliminary  Note  on  Painting      .... 
«♦  «'       "    Sculpture 

Part  III.     Architecture  and  Landscape  Gardening    . 

Preliminary  Note 

Part   IV.     Minor     Decorative     Arts;     Costume,     Embroidery, 

Glass,   Inlay   and   Mosaic,  Leather  Work,  Metal 

Work,  Pottery  and   Porcelain,  Textile  Fabrics  . 

Preliminary  Note 


MUSIC.     By  Henry  Edward  Krehkiel. 

Prefatory  Note    .         '. 

Part         I.  General  Histories 

"  II.  Special  Histories 

"         III.  Ancient  and  Medi/Kval  Music     . 

<'  IV,  FoLK-SoNG    AND    NATIONAL    MuSIC 

<'  V.  Musical  Biography 

"  VI.  Wagneriana 

■"        VII.  Musical  Science  and  /I'-sthetics 

"      VI II.  Musical  Criticism  and  Analysis 

*•  IX.  Encyclopedias  and  Dictionaries 

"  X.  Musical  Journals 

"  XI.  Second-Hand  Catalogues     . 

Index       .  .         .  


page 
I 

1-2 

2 


2-15 

2 
2 

15-37 
•5 
15 

38-47 
37 


48-53 
48 


54 
55 
56 
60 
61 

63 
67 

69 

70 

73 
73 
74 
75 


FINE  ART. 


A  SELKCTION   FROM  ITS  LITERATURE,   WITH   NOTES,   BY 
RUSSELL  STURGIS,   A.M.  Ph.I)  , 

Ftllotu  0/ th4  Amtricam  Inililutt  d/  Archiltcti. 


PART  I  Books  on  Fink  Art  in  a  Gknerai-  Sense;  Books  on  Art.  or  Many  of  the  Fine  A»t« 
Associated  Together  :  Archauuigv,  Glossaries  anu  Dictionaries 

PART   II.     Painting  anu  Sculpture.    Enoraving,  Etching,  anu  ULt'STRATioN 

PART  III.     >*rchitectukk  and  Landscape  Gardening 

PART  IV.    Minor   Decorative  Arts:   Costume,  Emhroiiiery,  Glass,  Inlay  and   Mosaic,  Leather  Work, 

Metal  Work,  Pottery  and  Porcelain,  Textile  Fahrics 48 


'5 

38 


A'ew    York.  January,   >897. 


PREFATORY    NOTE. 


The  Fine  Arts  arc  those  which  are  concerned 
«-ith  beauty,  expression,  anil  the  power  of  giv- 
ins  intelllKcnt  and  exalted  pleasure  through 
the  senses.  The  term  is  often  used  for  those 
line  arts  only  which  appeal  to  the  eye  ;  it  is  in 
this  sense  that  it  is  u:ied  in  these  notes. 

These  fine  arts  are  called  plastic,  or  con- 
cerned with  moulding  and  shaping  ;  and  graphic, 
or  concerned  with  drawing. 

The  plastic  arts  we  call  in  general  sculpture. 
the  graphic  arts  we  call  painting;,  which  term, 
however,  must  be  stretched  to  include  drawing 
with  many  different  materials,  engraving,  and 
especially  engraving  made  for  printing  upon 
paper  c)r  other  material,  and  also  decoration  in 
mosaic  and  other  kinds  of  inlay.  These  last,  it 
will  be  noticed,  are  merely  applications  to  per- 
manent materials  and  in  a  peculiar  way,  as  by 
cutting  and  shaping,  of  the  general  principle  of 
drawing  on  flat  surfaces. 

The  Decorative  Arts  are  the  same  fine  arts 
applied  and  put  to  use  in  making  necessary 
things  beautiful.  The  chief  of  decorative  arts 
is  Architecture,  in  which  building  is  made  at- 
tractive and  interesting  by  giving  to  it  good 
form  and  good  color,  and  sometimes  by  adding 
sculpture  or  painting,  or  both,  to  the  building. 
Other  decorative  arts  are  Keramics,  Glasswork 
which  includes  Enamelling,  Metal  Work  of 
many  kinds.  Lacquering  and  other  varnish 
work.  Leather- Work  iYicluding  Bookbinding, 
and  a  multitude  of  arts  in  which  these  different 
ways  of  ornamenting  are  used  to  help  one 
another. 

It  must  be  understood,  before  one  can  go 
very  far  in  the  enjoyment  of  fine  and  decora- 
tive art,  that  it  is  generally  the  object  of  art 
itself,  and  its  own  value  as  a  work  of  art,  that 
the  artist  is  interested  in.  When  a  person 
makes  a  drawing  to  explain  something  that  he 
has  seen,  or  when  a  cut  is  put  into  a  botany 


book   to  explain  a  flower's   shape   and    make, 
that  drawing  or  cut  will  not  often   be   at  all 
valuable  as  a  work  of  art.     In  like  manner,  fine 
art  which  has  a  narrative  or  explanatory  pur- 
pose is  seldom  very   exalted  art,  and  decora- 
tive art  of  course  has  no  such  purpose.     Illus- 
tration, as  in  books  and  weekly  papers,  is  the 
best  instance   there  is   of   fine  art    ivhich   has 
story-telling  or   incident   for   its   chief    object. 
Indeed  it  is  well  to  use  the  word  "  illustration" 
at  once  and  generally  for  such  art.     Thus  in  a 
book  of  history  a  picture  of  Washington   bid- 
ding farewell  to  his  officers  is  illustration  in  so 
far  as  an  attempt  is  made  to  tell  the  story  and 
to  get  the  costume  right  and  the  interior  of  the 
room  right  ;  it  is  pure  fine  art  in  so  far  as  the 
light  and  shade  and  color  and  the  grace  and 
force  of  the  composition  are  concerned.     Then 
there  are  freedom  and  truth  of  gesture;  natural- 
ness of  grouping,  the  probability  of   the   atti- 
tudes  and   action    of    the    personages,    all    of 
which  partake  of  both  illustration  and  fine  art, 
and  connect  the  two.     In  a  general  way.  how- 
ever, it  is  true  that  artists  care  most  about  the 
form   and   color  and  composition    and  the  re- 
sulting beauty,   origmality  and   interest  in  the 
picture  or  the  bas-relief.     The  student  of   art 
should  of  course  try  to  see  art  as  artists  see  it ; 
otherwise  such  student  will  remain  in  the  dark 
as  to  what  each  individual  work  of  art  means. 

TRELIMINARY    NOTE  :     I'ERIODICAI.S   AND   HOOKS 
IN   SERIES. 

In  this  catalogue,  articles  and  periodicals  are 
occasionally  named  and  very  many  more  would 
be  named  but  that  it  is  not  probable  that  many 
libraries  would  procure  sets  of  back  numbers 
of  such  periodicals.  Much  of  the  best  writing 
on  art  is  contained  in  periodicals,  but  the  articles 
in  question  are  frequently  used  afterwards  in 
book  form. 


Fine  Art. 


Hookd  ticIoHRlnK  to  Kcvcra!  «cric«  «i(  fncxpen- 
sivc  lianilliiinkH  iiru  incritinru'd  in  thiji  c'.'itali>KUt'. 
In  the  case  o(  each  ii(  these  series,  it  may  be 
easier  and  nearly  us  econnmical  to  purcliase 
the  whole  sericH  at  onic,  ami  it  will  tie  found 
that  all  of  the  voluinefi  are  of  A<iine  value, 
althouRh  it  is  thought  that  the  best  of  them 
have  been  named  below. 

The  author  of  these  n<tte»  «)n  t)ooks  reminds 
the  reader  that  the  tilles,  ttc,  «rc  taken  from 
the  volumes  thi;niselves,  and  that  although  the 
cleriiat  staff  of  the  Ameriian  Library  Assoria- 
liun  has  added  what  was  kiiuwn  abuut  cditiuns, 


etc.,  It  remain!!  alwayii  possible  that  there  may 
exist  a  later  edition  or  a  translation  into  Kn^- 
lish  of  which  no  mention  is  made. 

NOTK  ON  TKANSI.ATIONS. 

As  the  best  books  cm  fine  art  arc  generally  In 
French  or  In  (ierman,  it  Is  well  to  say  that  the 
translations  ii(  8uch  bookR  Into  Eni;1ish  are 
generally  very  badly  done.  It  seems  to  be 
thought  that  any  one  who  can  read  a  foreijjn 
lun^uaKe  with  a  dictionary  is  fit  to  translate  a 
technical  book.  An  effort  should  be  made  by 
librarians  tu  have  the  worst  errors  noted. 


TART  I. 

hooks  os'  kink  aki  in  a  «;».nkkai.  sk.nsk  i  hfkikh  (in  ai.i.  oh  mans'  ok  iiik  kink,  aris  assfm'iatkii 
took.tiik.k:  ar<;ii/*;oi,i>(;v,  uiossakiks,  ani>  dictidnakjk.s. 


I'kKl.IMlNAKV   NOIK.  :    AKC.H.ICOI.DC.V. 

Some  <)f  the  best  writinjj  on  fine  art  is  to  be 
found  in  treatises  on  archi-cology.  It  is  limited 
to  certain  branches:  thus,  a  lar^e  part  of  Circek 
Archaolony  is  confined  to  sculpture  and  painted 
vases.  Within  the  narrow  limits  chosen  by  the 
author  of  each  work  the  writing  is  apt  to  be 
very  exact  in  meaning  ;  and  the  appreciation 
of  the  relative  value  of  ancient  works  of  art 
and  the  classification  as  to  dates  and  schools 
are  often  very  just. 

rRKMMINARY   NllTK  ;   r.I.dSSAKIKS   AMi  ML- 
noNARIKS. 

Glossaries  of  technical  terms  are  always  very 
incomplete,  and  Kt^'it-'rally  poor  in  that  no  at- 
tempt has  been  made  to  i{ive  the  exact  force  of 
the  noun  or  adjective  as  it  would  be  used  in  a 
sentence  written  by  an  artist  or  workman  who 


was  also  an  accurate  writer.  Some  k'o^'s^i'ics 
are  named  below.  As  most  libraries  have  xood 
English  dictionaries,  it  may  be  said  here  that 
the  Century  Dictionary  contains  by  far  the 
fullest  vocabulary  of  terms  used  in  Architect- 
ure and  in  the  Decorative  Arts  of  all  kinds, 
including  Heraldry  and  Costume,  that  has  ever 
been  brought  together  ;  and,  also,  most  of  the 
important  terms  used  in  painting,  sculpture, 
engraving,  etc.  The  definitions,  moreover 
were  prepared  with  peculiar  care.  The  "  In- 
ternational"  Webster  Dictionary  of  1890  is  as 
careful  in  this  respect  as  the  Century,  but  only 
a  quarter  as  large  and  as  full.  "The  New 
English  Dictionary  on  Historical  Principles," 
published  in  New  York  by  the  Macmillan  Co., 
may  be  expected,  of  course,  to  contain  every  word 
which  is  properly  cimsidered  English  and  with 
the  definition  explained  and  strengthened  by 
quotations  of  many  epochs. 


Atkinson,  J.  Beavington. 

An  Art  Tdir  to  Nouthkrn  Capitals  ok 
EuRoi'K.     N.  Y.,  Macmillan,  1873,  $3. 

The  description  of  a  journey  through  Copenhagen, 
ChrJBtiania,  Stockholm,  St.  PeterHburg,  and  other 
Northern  cities.  The  author,  who  writes  on  art  for  the 
Saturday  Review,  the  Port/olio,  and  other  English 
journals,  whicli  give  attention  to  the  fine  arts,  has  made 
a  careful  study  of  those  works  of  art  in  the  Northern 
Galleries  which  he  thinks  especially  worthy  of  atten- 
tion. He  is  far  from  being  an  ideal  critic  of  art ;  he  is 
unfortunately  conservative  in  several  ways;  the  dicta 
contained  in  these  pages  are  to  be  received  as  the  pri- 
vate opinions  of  a  man  who  holds  his  opinions  a  little 
too  seriously ;  but  yet  it  is  possible  to  learn  from  these 
cages  what  rank  an  important  picture  in  a  Northern 
Museum,  little  known  to  foreigners,  holds  among  the 
other  works  of  an  artist  or  of  his  school.  Concerning 
buildings  and  their  decoration,  too,  the  facts  may  be 
trusted ;  they  are  expressed  in  an  intelligible  way,  al- 
though the  conclusions  may  be  very  rash.  It  is  on  the 
whole  a  useful  book  for  any  one  wno  will  be  cautious 
in  accepting  its  artistic  criticism.  014 


Babelon,  Ernest. 

ARCiifeoi.oc.iK  Orif.ntai.f..  [Hibliothfique  de 
I'enseignemenl  des  beaux  arts.  (Hereafter 
abbreviated  as  H.E.B.A.).]  Paris,  Quan- 
tin,  5  fr.  Translated  and  enl.  by  H.  T.  A. 
Evetts  as  Manuai,  of  Orik.mai,  Antiqui- 
ties.    N.  Y.,  Putnam,  1S89,  $3. 

A  good  book  by  a  recognized  authority.  By  Ori- 
ental Antiquities  are  meant  those  of  Babylonia,  As- 
syria, Chaldica,  Ancient  Persia,  and  other  Asiatic 
countries  of  remote  antiquity.  Remains  of  architect- 
ure and  sculpture,  engraved  gems,  metal-work,  etc., 
are  briefly  but  intelligently  treated.  013.3 

Bayet,  Charles. 

Precis  d'Histoirk  dk  l'Art.    Paris,  Quantin, 

1894,  5  fr. 

Any  attempt  to  write  a  general  history  of  art  invites 
inquiry  as  to  the  plan  to  be  pursued,  and  this  is  peculiar- 


I'ine  Art. 


isililf  that  there  may 
ranslatiiin  into  Kiik- 
niaJe. 

l.AIIiiNs. 

'.  art  arc  nenerally  In 
will  ttj  say  that  the 
:«  into  Enijlish  are 
c.  It  si-enis  to  be 
fan  read  a  i^^xv.\^n 
U  (it  to  translate  a 
should  be  made  by 
errors  noted. 


NK  AKTS  ASSnrtATKU 


r.    Some  Rlossaries 
libraries  have  j{ood 
y  be  said  here  that 
imtains   by   far   the 
1  used  in  Architect- 
Arts   of  all  kinds, 
itume,  that  has  ever 
I,  also,  most  of  the 
[)aintinK.    sculpture, 
finitions,    moreover 
ir  care.     The  "  In- 
)nary  of  1S90  is  as 
5  Century,  but  only 
full.      ''The   New 
torical    Principles," 
the  Macmillan  Co., 
>  contain  every  word 
I  English  and  with 
d   strengthened  by 


[Bibliothfique  de 
X  arts.  (Hereafter 
^•M  Paris,  yuan- 
id  enl.  by  H.  T.  A. 

)RIK\TAI,   ANTIQI'I- 

S89,  $3. 

:d  authority.  By  Ori- 
ose  of  Babylonia,  As- 
ia, and  other  Asiatic 
Remains  of  architect- 
ems,  metal-work,  etc., 
ed.  ei3.3 


r.    Paris,  Quantin, 

il  history  of  art  invites 
ed,and  this  is  peculiar- 


ly thr  c»Hc  whrn  the  hiHtnrian  ih  limited  t<>  14^  ttmall 
paK<'^.  which  Hpucc  munt  iils<i  include  iii  liKureK.  Il  is 
very  liouhtful  whrther  such  wiirk  can  navr  iiny  value 
ticyonil  that  r)f()fTorinif  casual  suKKettionsto  the  reader. 
The  prcsrnt  one  i»  at  Teant  written  by  a  man  a  Imirably 
tidcil  by  bin  life-long  ttudics  fur  the  work  he  hasundrr- 
t;ikvn.  700 

I.Akt  Hvzantin.    (H.F.M.A.)    llUis.     Paris, 
yuantin,  5  fr. 

Hyzanline  architecture  is  that  which  begnn  in  the  V, 
century  in  the  eantcrn  half  of  the  Kreat  Koinan  Empire 
and  continued  to  flourish  in  the  I<y^<anline  Kmpire  until 
its  destruction  by  Ihe  Crusaders  in  the  XIII.  century, 
even  continuing  after  this  until  the  Turkish  conquest  o( 
14^),  It  was  unfortunate  in  the  fact  that  it  prevailed 
only  in  an  emiiire  whose  territory  was  constantly 
diminishinif  and  which  was  finally  overrun  by  bar- 
barians Its  architecture  had  no  development  except 
in  the  inferior  styles  of  the  Mohammedan  nations. 
ItspaintlnK  and  decorative  art  influenced  Italy  on  one 
lide  and  Russia  and  the  Kast  on  the  other,  but  had  no 
separate  growth  ;  sculpture  it  never  pissessed  in  a  high 
sense,  as  the  art  began  after  classical  sculpture  was 
dead  and  had  not  time  to  develop  a  new  art  as  the 
western  nations  did.  This  is  a  fascinating  and  little 
known  lield  of  study  and  Mr.  Uayct's  little  book  is  a 
worthy  introduction  to  it.  708.0 


.Blanc,  Oharleii. 

I.K.S  Ariistks  df,  mo.n  Tkmps. 


Paris.  Firmin- 


Didot,  1S7C..  iS  fr. 

Biographies  of  18  artists  whom  the  author  had  known 
personally  with  the  single  exception  of  the  medallist 
Dupr<,  for  whom  see  under  Saunier  in  Part  IV.  The 
sculptors  David  d'Angers  and  Harye,  the  painters 
Eugene  Delacroix,  Henry  Leys,  Ffandrin,  Troyon, 
Rcgnault,  and  Corot,  the  architect  F^lix  Duban  ami 
several  other  artists  worthy  to  rank  with  these,  or  at 
least  to  be  considered  within  the  scope  of  the  same 
pages  with  them,  are  treated  with  a  certain  semi- 
critical  justness  which  is,  perhaps,  as  instructive  to  the 
student  of  history  of  art  as  more  elaborate  critical 
analysis  would  be.  There  are  a  number  of  useful  illus- 
trations. 027 

Grammairf.  dk.s  Arts  dc  Dkssi.n-  Arcuitect- 
iRK,  SciM-i'TiRE,  Pfinti'rk.  s™"  cd.  Paris, 
Henri  Laurens,  13  fr, 

The  works  of  this  author  are  in  a  sense  perfunctory ; 
one  does  not  go  to  him  for  stimulating  criticism  or  bold 
and  incisive  views.  They  are  generally  trustworthy, 
written  by  a  hard-working  man  to  whom  all  modern 
French  culture  and  much  of  foreign  thought  were  ac- 
cessible. This  work  and  the  "  CTrammaire  des  Arts 
D^coratifs"  form  one  analytic  history  of  art  which  is 
well  worth  study.  701 

Boissier,  Oaston. 

RoMK  AM)  Pompeii  :  ARCn.Eni.noiCAi,  Ram- 
bles. Transl.  by  I).  Havelock  Fisher. 
With   maps   and   plans.      N.    Y,,   Putnam, 

i8(}f),  $2.50. 

Though  not  exclusively  devoted  to  the  question  of 
fine  art,  this  book  contains  very  judicious  treatment  of 
the  artistic  subject  which  can  in  no  way  be  separated 
from  the  study  of  the  ruins  of  Rome  and  Pompeii,  Mr. 
Boissier  is  a  student  who  keeps  himself  as  thoroughly 
informed  of  accurate  and  scientific  discovery  as  if  he 
were  an  archaeologist  by  profession.  The  account 
given  in  this  book  of  the  doings  of  the  professional 
archa;ologists  and  explorers,  from  the  early  hunters  for 
statues  to  whom  we  owe  so  much  of  the  destruction  of 
fine  old  buildings,  to  the  modern  thorough  and  careful 
student,  forms  one  of  the  most  interesting  parts  of  this 
volume.  013 

The  Country  ok  Horace  and  Viroii.. 
Transl.  by  I).  Havelock  Fisher.  With 
maps  and  plans.  N.  Y.,  Putnam,  1896, 
$2.50. 

See  what  is  said  of  this  author  in  next  preceding  note. 

013 
!BoiilIier,  Auguste. 

L'Art  ViNiiiEN  :  ARciirrE(  TfRE,  Schlpti're, 
Peintuke.  Paris,  E.  Dentu,  1870.  Out  of 
print. 

This  essay,  although  intended  merely  to  form  part  of 
a  political  history  of  Venice,  is  full  of  intelligent  per- 
■ceotion  of  the  true  qualities  of  its  art.  708.5 


Brownell,  William  O. 

Frksc  II  Aki.     N.  Y.,  Scribncr,  T^i)2,  |i.2H. 

Although  devoted  to  the  criticism  of  recent  French 
fine  art,  the  general  principles  which  govern  all  line  art 
are  so  clcarl>r  cipressed,  so  strongly  antl  consistently 
urged  that  this  book  in  itself  may  do  much  to  explain 
what  a  work  of  art  is  in  the  mind  of  its  creator,  and 
also  how  his  fellow-artists  louk  at  it.  There  is  no  f)e|. 
ter  criticism  to  be  found.  It  is  a  biMik  of  the  highest 
class.  700.44 

FkKNcit     Traits.      N.    Y.,    Scribner,     i^-*i), 
5-»-4ix  p.  I).,  $1.50.     Meadville,  Pa..  Flood 
Vincent  (ChautaU(|tia  ser.),  4-^31^^"  i).  I). 


$1 


See  the  chapter  "  The  Art  Instinct  "  and  see  what  n 
Siiid  III  note  next  foregoing  of  a  work  by  the  s:ime 
author.  812 

Brunn,  Heinrich. 

GRiEniisciiE  Kt'NSTOF.sriiicHTF.  I.  Die  An- 
fiinge  und  die  Ulteste  dekorative  Kunst. 
MUnchen,  Verlaxsanstalt  fllr  Kunst  und 
Wissenschaft,  1893.     Marks  7.50. 

The  first  part  of  a  proposed  complete  history  of 
Greek  art  which  the  late  Heinrich  Brunn,  the  recognized 
chief  of  classical  archaeologists,  desired  to  write. 
The  carrying  forward  of  his  work  was  continually  de- 
ferred because  of  the  rapid  increase  of  the  sources  of 
our  knowledge.  .\t  length  Brunn  ventured  to  write 
this  introduction  to  the  subject  in  the  form  of  a  history 
of  the  early  archaic  styles.  This  book  will  be  a  stand- 
ard for  years  to  come.  700.38 

Bum,  Robert. 

Ancient  Rome  and  Its  Nekjiiiiorhood.  II- 
lus.  I.ond.,  (ieo.  Hell  &  Sons  ;  N.  Y., 
Macmillan,  $2.25. 

This  little  book,  though  less  detailed  and  full  and  less 
appreciativeof  questions  of  fine  art  than  Mr.  Middleton's 
"Remains  of  Ancient  Rome"  is  useful  for  the  study 
of  Roman  antiquities.  "Rome  and  the  Campagna" 
by  the  same  author,  a  much  larger  book  with  many  Il- 
lustrations, was  excellent  in  its  day  but  is  in  oart  obso- 
lete. 013 

Roman  Lu'eratire  in  Relation  to  Roman 
Art.  lllus.  N.  Y.,  Macmillan,  1S8S, 
$2.25.  870 

Oellini,  Benvenuto,  Memoirs  of. 

Transl.  by  Thomas  Roscoe.  (Bohn.)  N.  Y., 
Macmillan,  $1.  Transl.  by  John  Adding- 
tim  Syrnonds.     N.  Y.,  Scribner,  $2.50. 

This  celebrated  book  is  not  valuable  as  a  guide  to 
the  immediate  intelligent  knowledge  of  fine  art,  but 
gives  a  truthful  picture  of  times  of  violence  and  individ- 
ual independence  of  law  and  authority,  in  which  times 
the  great  art  of  the  XV.  and  XVI.  centuries  came  into 
being.  Mr.  Taine  has  made  much  of  this  peculiarity  of 
the  great  art  epoch  of  Italy,  as  in  some  degree  account- 
ing fur  the  art  to  which  it  gave  birth.  020.04 

Ohesneau,  Bmest. 

L'Education  de  L'Artiste.  Transl.  by  Clara 
Bell  as  Edvcaiton  ok  the  Artist.  N.  Y., 
Casscll,  1886,  $2.     Out  of  print. 

Mr.  Chesneau  is  a  first-rate  critic,  and  this  book  con- 
tains much  matter  which  may  give  valuable  suggestions 
to  the  student.  707 

Coffin,  Wm.  A. 

The  Fine  Arts  at  the  Paris  E.kposition 
OK  1880,  in  the  N.  Y.  A'ation,  Vol.  XLIX., 
nos.  1259-1268,  inclusive  (July  to  October 
1889). 

The    Fine    Arts    at    the    World's    Fair. 
CincA(io,  1893,  in  the  A'ation,  Vol.  LVII., 
nos.    1466-1471,  inclusive  (August  to  Sep' 
tember,  1893). 
See  what  is  said  of  this  writer  in  Part  II. 


Fine  Art. 


Oollignon,  Maxlme. 

ARCnfini,ooiK  Grkci.uk.  (H.E.K.A.)  Paris, 
Quantin,  5  fr.  Transl.  Ity  J.  H.  Wn^ht  as 
Mani'ai,  ok  Grkek  Akcii/koi.ocy.  N.  Y., 
Cassell,  1886,  $2. 

This  book  and  Mr.  A.  S.  Murray's  on  the  same  sub- 
ject contain  all  that  any  person  except  specral  sludents 
need  read,  except  that  this  author's  "Mythology" 
(Phila.,  Lippincott,  $3),  or  any  similar  treatise,  should 
be  referred  to.  913.38 

Colvin,  Sidney. 

Article  Fink  Art.     Er.tyclopjcdia  Britannica, 

Qth  ed. 

Full  of  (rood  3ense  and  just  perc-ption.  Even  wh.it 
seems  frpcif'il  will  be  found  to  be  suggestive  and  to 
help  to  a  right  sense  of  what  fine  art  is.  The  student 
shoulJ  notice  an  error  in  speaking  of  sculpture,  etc., 
as  "imitative  arts."  Fine  art  should  not  be  said  to 
imitate  anything,  but  only  to  represent  or  express  what 
it  deals  wi'h.  Indeed  there  is  no  such  thing  as  an  imi- 
tative fine  art  or  a  fine  art  of  imitation. 

Article  Art      Encvck>p,-edia    Hritannica,   yth 

ed. 

Should  be  read  with  above-named  article  "  Fine 
Art." 

Oonway,  Sir  William  M. 

Dawn  ok  art  in  the  Anciknt  World:  An 
Arcii.koi.ocicai.  Skktch.  N.  Y.,  .Macniil- 
lan,  1891,  $1.25. 

Valuable  for  its  suggestions  as  to  the  probable  ori- 
ffin  of  those  artistic  types  which  have  become  so  famil- 
iar to  the  world  that  it  is  hard  to  realize  the  necessity 
of  accounting  for  them.  In  such  a  book  much  must  be 
given  as  probable  which  cannot  be  proved  in  any  satis- 
factory way.  This  book  is  'o  b'  read  as  an  attempt  to 
bring  these  probabilities  inti.  .tnape.  It  is  valuable  as 
an  encouragement  to  independent  thought  on  the  part 
of  the  reader.  013 

Cook,  Sdward  T. 

.Sti'uies  in  Rkskin:  Some  Aspects  of  the 
Work  and  Teaching  of  John  Ruskin.  With 
reproductions  of  drawings  by  Mr.  Ruskin 
in  the  Ruskin  Drawing  School,  Oxford. 
Illus.     Lond.,  George  Allen,  1890,  5s. 

That  part  of  this  book  which  is  devoted  to  the  art 
writings  of  Ruskin  may  be  compared  with  the  work 
cited  under  Waldstein.  Mr.  Cook's  work  approaches 
the  writings  of  Ruskin  from  the  side  of  general  appro- 
val and  admiration.  824.86 


Art.     N.  Y.,I)odd,Mead 


De  Forest,  Julia  B. 

Short  History  ok 
&  Co.,  $2. 

A  popular  account  of  works  of  art  of  the  better 
known  varieties.  It  is  much  sounder  in  its  criticism  and 
more  generally  trustworthy  than  some  similar  compila- 
tions, out  contains  serious  errors,  such  as  the  general 
information  given  as  to  Delia  Robbia  work,  in  which 
the  very  large  and  elaborate  pieces  are  ignored,  and  an 
unsuitability  of  the  material  to  these  is  asserted  ,  and 
such,  also,  as  the  wholly  inaccurate  account  of  Gothic 
vaulting.  709 

De  Ooncourt,  Edmond  and  Jules. 

L'Art    I)U    XVIII.    SiKci.K,      Paris,    Dentu, 
1868,  2  V.     Out  of  print. 

The  two  brothers  De  Goncourt  were  collectors  of 
the  fine  and  decorative  art  of  the  XVIII.  century,  and 
they  were  also  the  authors  of  semi-historical  works  de- 
voted to  that  period.  They  had  a  very  accurate  and 
close  sense  of  the  value  of  that  art  and  their  writing 
upon  It  has  critical  value.  The  edition  of  this  book 
named  above  is  inexpensive ;  there  is  also  an  edition  of 
188a  with  many  plates  and  forming  two  large  octavos. 

The  art  of  the  XVIII.  century  is  more  artificial  and 
more  the  creature  of  a  luxurious  society  than  most  of 
that  fine  art  which  is  in  any  way  estimable.  It  has 
been  the  custom,  especially  among  English-speaking 
people,  to  despise  both  the  architectural  and  the  ex- 
pressional  art  of  that  tin  ,  but  it  has  great  merit  and 
the  brothers  De  Goncourt  deserve  much  of  the  credit 
of  having  introduced  it  to  modern  critical  study.    This 


book  is  confined  to  the  study  of  a  dozen  of  the  more 
celebrated  painters  and  draughtsmen  of  the  time,  from 
Watteau  to  Prudhon.  709 

De  Laborde,  I.c  Comic  Alexandre. 

La  Rknaissanck  dks  .Akis  \  i.a  Coitr  pk 
Franck,  id'""  Sifx'i.r:.  Paris,  Putier,  1S55, 
2  v.,  24  fr. 

Great  and  sudden  changes  in  the  condition  of  the 
fine  arts  in  any  nation  have  been  rare  and  their  history 
IS  generally  extremely  obscure  and  wholly  impossible 
to  grasp  in  its  details.  Either  it  has  taken  place  at  a 
time  when  historical  record  was  impracticable  or  else 
the  records  have  perished.  For  these  reasons  the  very 
singular  change  in  the  spirit  of  art  in  France  in  the 
reigns  of  Charles  VIII.  and  I.ouis  XII.,  and  the  cul- 
mination of  the  change  under  Francis  I.,  is  worthy  of 
close  attention  and  even  the  seemingly  unimportant 
facts  cited  in  parts  of  these  volumes  have  their  value 
as  enabling  the  reader  to  grasp  the  true  order  and  sig- 
nificance of  events.  To  those  who  like  to  approach  the 
study  of  art  from  the  historical  and  anafytical  side, 
these  volumes  are  extremely  valuable.  Compare  what 
IS  said  of  the  books  by  MUntz  and  Mrs.  Pattison.    709' 

Delaborde,  Henri. 

^iii'DES  SIR  i.KS  Hkaix-.Arts  kn  Franck  et 
KN  Itai.ik.     Paris,  J    Renouard,  1864,  15  fr. 

This  author  [has  devoted  himself  esprcially  to  the 
study  of  engraving  as  his  official  position  requires,  but 
his  knowledge  of  European  art  since  the  Middle  Ages 
IS  varied  and  profound,  and  it  is  good  to  have  the  studies 
upon  art  of  writers  who  approach  it  from  different 
points  of  view.  709 

Dennie,  John. 

Ro.mk  ok  To-Day  and  Ykstf.rday.  3(1  cd., 
with  5  maps  and  plans,  and  5S  illustrations 
from  photographs.  X.  Y.,  Putnam,  iS()f), 
?4. 

A  square  octavo  of  nearly  400  pciges  with  a  full 
index.  The  text  is  of  the  general  character  of  a  guide- 
book made  interesting  by  sympathetic  treatment.  It 
can  be  read  aloud  continuously:  this  is  hardly  true  of 
Middleton's  or  Raber's  book,  so  thai  although  the 
present  work  pretends  to  no  originality  of  research,  it 
gives  a  great  deal  of  information  concerning  the  splen- 
did monuments  of  classical  Rome.  913 

Dennis,  Oeorge. 

Cities  ani>  Cemfteries  f*"--  Etri-ria.  Lond., 
John  Murray,  1878,  2  v     21s. 

The  little  known  and  very  puzzling  art  of  the  ancient 
Etruscans  is  treated  in  this  book  in  the  more  desultory 
way  of  geographical  exploration.  To  be  compared 
with  the  more  orderly  and  more  technical  books  by 
Jules  Martha.  913 

De  Pouvourville,  Albert. 

L'Art  Indo-Chinois.  (B.E.H..\  )  Paris, 
Quantin,  5  fr. 

The  arts  of  the  great  peninsula  which  our  old  geog- 
raphy books  called  Farther  India  have  been  little  studied 
except  by  the  French  ;  the  museums  of  Europe,  other 
than  the  Louvre,  have  few  specimens  of  these  arts. 
The  author  of  this  little  hook  cloes  not  pretend  to  have 
studied  these  arts  in  the  lands  ol  Burmah,  Siam,  Anam. 
Cambodia,  and  Tonquin,  but  he  has  studied  the  monu- 
ments which  exist  in  Europe  and  the  works  of  those 
who  have  made  a  minute  and  fuller  examination  of  the 
architecture,  sculpture,  and  decorative  oiijects  left 
from  the  ancient  civilization  of  these  realms  or  made 
by  the  modern  inhabitants.  These  arts  are  im[»rtant 
in  themselves  and  will  be  doubly  important  in  all  thor 
ough  study  of  Chinese  and  Japanese  art.  708.9 

Diehl,  Oharles. 

L'Art    Hyzantin    pans    i.'Itai.ie    MERinio- 

.\AI  E.     Paris,  Librairie  de  I'Art,  i8f)4,  15  fr. 

Embodies  an  examination,  previously  unattempted,, 
of  the  Byzantine  wall-paintings  in  southern  Italy  and 
Sicily.  It  IS  most  interesting  reading ;  and  although 
the  'tudj  in  detail  of  these  little  known  pictures  woiild 
lead  the  student  far  into  the  as  yet  half  understood  his- 
tory of  mediaeval  art,  yet  everything  that  can  add  to 
his  sense  of  the  importance  of  the  art  of  the  Eas.jrn 
empire  should  be  insisted  on.  See  what  is  said  about 
the  books  by  Bayet  and  Essenwein.  708.9' 


i 


Di 


4 


i 


Fine   Art. 


of  a  dozen  of  the  more 
htsmen  of  the  time,  from 
700 

exandre. 

K  IS     \     I.A    COUR     1)E 

I'iiris,   PiJtier,   1 85 5, 

in  the  condition  of  the 
en  rare  and  their  history 
e  and  wholly  impossible 

It  has  taken  place  at  a 
as  impracticable  or  else 
or  these  reasons  the  very 

of  art  in  France  in  the 
ouis  XII..  and  the  cnl- 

Francis  I.,  is  worthy  of 

seemingly  unimportant 
olumes  have  their  value 
3  the  true  order  and  sig- 
who  like  to  approach  the 
ical  and  analytical  side, 
'aluable.  Compare  what 
and  Mrs.  Pattison.    700' 


Arts  kn  Franck  kt 
enouard,  1S64,  15  fr. 

iimseli  esprcially  to  the 
:ial  position  requires,  but 
I  since  the  Middle  Ages 
s  good  to  have  the  studies 
)roach  it  from  different 
700 


rESTERPAY.      3(1    ed.. 

and  5.S  illustrations 
Y.,    Putnam,  i8(/), 

400  pages  with  a  full 
;ral  character  of  a  guide- 
mpathetic  treatment.  It 
ily  :  this  IS  hardly  true  of 
:,  so  that  although  the 
iriginality  of  research,  it 
on  concerning  the  splen- 
>me.  013 


>•--  Etri'ria.     Lond., 
21S. 

uzzling  art  of  the  ancient 
10k  in  the  more  desultory 
tion.  To  be  compared 
lore  technical  booKs  by 
013 


(H.E.H.A)      Paris, 

iula  which  our  old  geog- 
la  have  been  little  studied 
jseums  of  Europe,  other 
ipecimens  of  these  arts, 
loes  not  pretend  to  have 
dI  Burmah,  Siam,  Anam. 
le  has  studied  the  monu- 
and  the  works  of  those 
'uller  examination  of  the 
decorative  oiijects  left 
if  these  realms  or  made 
'hese  arts  are  important 
)ly  important  in  all  thor 
anese  art.  708.0 

i.'Itai.ie    MKRinio- 

de  I'Art,  1894,  15  fr. 

ireviously  unattempted., 
;s  in  southern  Italy  and 
reading ;  and  although 
e  known  pictures  would 
yet  half  understood  his- 
■ything  that  can  add  to 
the  art  of  the  Easi.jrn 
See  what  is  said  about 
trein.  708.9' 


4 


E.xci'RsioNs  i\  Grkeck  to  Recently  Ex- 
plored .Sites  ok  Classical  Interest. 
Transl.  by  Emma  R.  Perkins.  Lond.,  H. 
Grevcl  &  Co.;  N.  Y.,  Lemcke  &  Buechner, 
iSo3,  $2. 

As  a  help  to  the  study  of  Grecian  art  a  knowledge 
of  the  archjBological  explorations  from  which  our  re- 
cent, increase  in  knowledge  has  sprung  is  very  valu- 
able. The  translation  in  this  case  is  vouchea  for  by 
competent  authority  as  being  well  done.  The  author 
is  a  very  scholarly  and  thorough  writer.  See  what  is 
said  of  his  other  works.  013.38 

Dilke,  Lady. 

.Ari-  in  the  Modern  State.  Lond.,  Chap- 
man &  Hall,  iS88,  9s. 

Lady  Dilke  is  the  Mrs.  Mark  Pattison  whose  works 
are  cited  elsewhere.  In  this  book  she  undertakes  to 
describe  the  first  appearance  m  th'j  modern  world  of  a 
highly  centralized  system  of  nne  art  fostered  by  the 
government  and  turned  alike  to  industrial  and  purely 
artistic  uses  with  deliberate  purpose.  The  historical 
conditions  of  the  time  are  explained  at  length  and  the 
conclusionsof  the  book  maybe  trusted,  although  there 
IS  a  natural  exaggeration  to  be  noticed  in  what  is  said 
of  the  historicaltendencies  and  the  artistic  tendencies, 
alike.  The  Protestants  were  not  put  down  by  Richelieu 
because  they  were  Protestants,  but  because  they  desired 
an  imperium  in  imperio  (page  7) ;  the  art  of  France 
under  Louis  XIV.  was  not  all,  or  nearly  all  "  royal,"  nor 
was  the  king  the  only  employer  of  artists  in  France 
(page  52).  701 

Dohme,  Robert. 

Ki'NST  UNI)  K(?nstler  df.s  Mittelalters 
I'ND  DER  Nei'ZEIT.  LeipzijiT,  Seemann, 
1877-86,  6  v.,  80  marks. 

This  valuable  treatise  on  mediaeval  and  modern  art 
is  divided  into  Part  1.:  Germany  and  the  Netherlands, 
Part  II.:  Italy  (occupying  3  vols.)?  Part  III.  Spain, 
France,  and  England  ;  Part  IV.'  The  first  half  of  the 
XIX.  century.  It  is  very  much  to  be  desired  that  this 
book  be  translated  into  English.  701 


Y., 


D'Ooge,  Martin  L. 

The  Acropolis  of  Athens.     IUus.     K. 
Macmillan.     Announced  without  dale. 

The  author  is  Professor  of  Greek  in  the  University 
of  Michigan,  and  was  Director  of  the  American  School 
rf  Classical  Studies  at  Athens  during  1886-87.    013.38 

Dresser,  Christopher. 

Japan  ;  Lis  ARciiiTECTfRE,  Art,  and  Art 
oFMANrKACTLKEs.  Lond.,  Longmans,  i8b2. 
Out  of  print. 

The  w^ork  of  a  traveller  rather  than  of  an  expert, 
but  the  work  of  an  enthusiastic  lover  of  Japanese  art : 
as  It  IS  interesting  reading,  it  will  lead  toward  an  ap- 
preciation of  more  exhaustive  and  more  accurate 
treatises.  700.52 

Dyer,  Thomas  H. 

O.N  Imitative  Art.  Its  Principles  and  Proc- 
RESS,  with  preliminary  remarks  on  Beauty, 
Sublimity,  and  Taste.  Lond.,  George  Bell 
&  Sons,  18S2.     Out  of  print. 

From  this  book  can  be  obtained  a  considerable 
knowledge  of  what  exists  and  what  is  known  to  have 
existed  in  the  way  of  works  of  fine  art  The  received 
opinions  of  several  generations  are  summed  up  in  it  in 
a  sufficiently  intelligible  way.  There  is  no  great  origi- 
nality of  perception  and  little  or  no  discrimination 
shown  ;  the  only  index  is  that  of  the  works  mentioned 
arranged  under  geographical  hr^ads.  A  book,  there- 
fore, to  read  with  a  view  of  gaining  knowledge  of  cer- 
tain well-ascertained  facts.     '  701 


Emerson,  Alfred 

Editor  and   reviser       Article   ARCHyCOLOcv,    John- 
son's Universal  Cyclopaedia.    Edition  1893-95. 


Erman,  Adolph. 

Like  in  Ancienp  Ec.ypt.  Transl.  by  Heler» 
Mary  Tirard.  lllus.  N.  Y.,  Macmillan. 
1894,  |6. 

A  knowledge  of  the  religion,  customs,  dress,  etc., 
of  the  ancient  Egyptians  is  necessary  for  even  a  slight 
understanding  ofthelr  art,  which  without  it  remains  an 
unmeaning  and  comparatively  unimportant  decoration. 
This  book  may  be  commended  although  the  original 
text  dates  from  1889.  The  discoveries  of  the  last  few 
years  are  of  singular  importance  ;  we  majr  reasonably 
expect  to  see  new  editions  of  this  work  which  will  con- 
tain their  results.  In  the  meantime  this  is  the  best  work 
of  the  kind  existing,  always  excepting  those  by  Mas- 
pero  which  have  their  peculiar  value.  032 

Ffirater,  Ernst. 

DeNKMALE  DEUTSCHER  BaUKUNST,  BiLnNERET 
UND  MaLEREI,  v.  D.  ElNFCHRrNC.  DES  CllRIS- 
TENlHb'MS  BIS  AUK  DIE  NEUSTE  ZeiT.       Illus. 

Leipzig.  F.  O.  Weigel,  12  v.,  600  marks. 
(French  translation,  published  Paris.  1866, 
out  of  print.) 

The  recognized  monuments  of  Germany,  of  the 
Middle  Ages,  and  later  times  aown  to  the  beginning  of 
the  present  century,  are  given  here  with  suthcient  ful- 
ness and  with  a  text  of  sufficient  analytic  value  to  make 
the  book  of  importance  and  to  meet  the  requirements  of 
many  students  in  regard  to  Germany  for  those  epochs, 

013.43 

Frizzoni,  Gustavo. 

Arte  Lialiana  del  Rinascimento,  Sagc.i 
CKiiTci.     Milan,  Dumolard,  1S91,  u  lire. 

See  what  is  said  under  Cavallucci  and  Selvatico  of 
the  desirability  of  getting  Italian  thought  about  Italian 
art.  The  present  work  is  more  critical  than  either  of 
the  others.  70O 

Fromentin,  Eugene. 

See  his  treatises  on  painting.  Part  II.,  in  which 
the  true  principles  of  fine  art  are  admirably  explained. 

Frothingham,  A.  L.,  Jr. 

Christian  Rome.     Illus.     N.  Y.,  Macmillan. 

Announced  without  date.  Early  mediaeval  archseol- 
^feV  IS  Prof.  Frothingham 's  specialty;  he  has  resided 
long  in  Rome,  first,  as  a  student  and  lately  in  connec- 
tion with  the  American  School  of  Archaeology.    046.6' 

Qambier,  Parry  T. 

.Ministry  ok  Fine  .^rt  ro  the  Happiness  ok 
Life.     Lond.,  .Murray,  1886,  14s, 

Remarkable  as  being  the  work  of  one  of  the  very 
few  amateur  or  non-professional  artists  whose  artistic 
workisof  any  extent  or  value,  Mr.  Gambler  was  a  land 
owner  and  man  of  wealth  who  did  a  great  deal  of 
mural  painting,  and  who  was  largely  instrumental  in 
introducing  the  "  spirit-fresco  "process  The  paper  on 
"The  Adornment  of  Sacred  Buildings"  is  to  be  read  in 
connection  with  Lord  Lindsay's  Christian  Art.  That 
on  Gloucester  Cathedral  is  an  interesting  archaeological 
essay  showing  the  reader  what  problems  and  debatable 
questions  even  a  minor  ancient  cathedral  church  may 
give  rise  to.  The  paper  on  Colour  and  Sculpture  is 
nearly  superseded  by  later  and  more  learned  work. 

701 

Gardner,  Percy. 

New  Chapters  in  Greek  History  :  Histori- 
cal Results  of  Recent  E.xcayations  in 
Greece  and  Asia  Minor.  Lond.,  Murray. 
1892,  15s. 

The  account  of  the  recent  disco'"  its  made  on  the 
Athenian  Acropolis,  at  Olympia,  and  at  Epidaurus, 
are,  perhaps,  the  most  interesting  papers  in  this  vol- 
ume, but  the  general  discussions  entitled  "  The  Verifi- 
cation of  Ancient  History,"  "  Eleusis  and  the  Myste- 
ries," "Ancient  Cyprus,"  and  especially  "Recent 
Discoveries  and  the  Homeric  Poems"  are  also  of 
great  value.  As  the  whole  work  is  based  upon  the  new 
discoveries  made  in  the  excavation  and  examination  of 
ancient  cities,  it  is  clear  that  ever/  part  of  11  bears 
directly  on  the  history  o(  fine  art. 

Reviewed  in  Am.  Jl.  0/  Archtrolo^y,  April,  June 
1893.  013. 3S 


Fine  Art. 


Oayot,  Albert. 

L'Art  Akabk.     (H.E.H.A.)     Paris,  Quantin, 

1S93,  5  fr. 

This  book  differs  from  the  others  of  the  same  series 
in  not  being  a  conservative  treatise  based  upon  recog- 
nized authority  and  containing  statements  well  verified 
and  criticism  which  may  be  readily  accepted.  It  is  a 
serious  attempt  to  discover  an  origin  for  the  Moham- 
medan art  of  Egypt  and  Syria,  and  a  meaning  in  that 
art :  in  this  way  it  is  a  first  step  in  a  new  field  of 
thought.  The  reader  is  to  accept  it  for  what  it  is  and 
to  realize  that  the  archjcological  critics  and  the  students 
of  human  belief,  alike,  will  find  immeasurable  fault 
with  the  author's  conclusions  and  his  ways  of  reaching 
them.  This  is  the  beginning  of  a  controversy  from 
which  well  ascertained  trutn  may  be  expected  to 
emerge. 

Reviewed  Atn.Ji.  0/ Arch<rol<>jr}\  Vol.  IX.,  p.  557- 

V  C/17 

L'Art  Pkrsan.     'B.E.U.A.)     Paris, ■Quantin, 

1895.  5  fr. 

Continues  the  curious  inquiry  begun  in  the  same 
author's  book  "L'Art  Arabe."  Trie  same  desire  to 
eet  at  the  Oriental's  point  of  view,  and  1.0  find  out  what 
ne  thought  of  his  own  works  of  art  and  what  he  tried  to 
express  in  them,  is  the  good  side  of  this  examination. 
The  less  good  side  is  the  bold  assumption  of  the  truth 
of  many  propositions  which  can  neither  be  proved  nor 
even  demonstrated.  709 

Oonse,  Louis. 

L'Art  Gothique  :  i.'Architecture,  i.a  Pei\- 
TURE,  LE  DficoR,  LA  ScULi'TURE.  Paris, 
Quantin,  too  fr. 

This  beautiful  volume  is  devoted  exclusively  to  the 
development  of  Gothic  architecture  and  of  the  wall- 
painting,  stained-glass,  furniture,  and  more  portable 
decorative  work  which  had  that  architecture  for  its 
stimulus  and  guidance.  Gothic  architecture  is  orima- 
rily  French,  of  the  old  royal  domain,  governed  by  the 
Kings  of  France  in  the  XII.  century,  and  of  the  prov- 
inces immediately  dependent  upon  it ;  but  there  is  a  most 
valuable  derived  art,  contemporaneous  with  it  in  the 
other  countries  of  western  Europe.  This  work  is 
rather  too  exclusively  French  and  one  must  go  to  other 
woC<s  for  a  knowledge  of  English,  German,  and  other 
variants  of  the  Gothic  style ;  but  the  essential  charac- 
teristics of  the  style  both  in  building  and  m  the  minor 
decorative  arts  are  better  studied  in  French  examples 
than  in  others.  The  illustrations  are  of  very  great 
value  but  without  a  sufficient  number  of  plans.       700 

L'Art  Japonais.     Paris,  Quantin,  1S83,  2  v., 

200  fr. 

The  most  richly  illustrated  of  all  the  works  on  Jap- 
anese decorative  art ;  it  is  like  having  a  collection  of 
lacquers  and  bronzes,  carvings  and  swords,  to  possess 
these  beautiful  prints,  both  black  and  in  color.  The 
text  is  generally  that  of  the  cultivated  European  who 
has  collected  and  studied  Japanese  works  of  art  in  Eu- 
rope. In  the  chapter  on  painting  an  attempt  was  made 
to  describe  the  different  schools  and  the  general  prog- 
ress of  the  art.  For  this  the  writer's  knowledge  is  en- 
tirely inadequate.  It  seems  not  to  have  occurred  to 
him  that  there  would  necessarily  be  a  vast  deal  of  in- 
formation inaccessible  to  him  in  France.  Here  also, 
however,  the  illustrations  are  of  importance. 

See  next  title  and  note.  709.62 

L'Art  Japonais.  (B.E.H.A.)  Paris,  Quan- 
tin, 5  fr. 

Transl.  by  M.  P.  Nicl^erson  as  Japanese  Art. 
Morrill,  Higgins  &  Co.,  Chicago,  published 
this  book  in  i8g2,  at  $2.  Publishers,  Jan., 
i8()7,  unknown. 

A  small  handbook  by  the  author  of  the  larger  work 
bearing  the  same  title.  See  what  is  said  of  that  larger 
work.  In  the  prefatory  chapter  to  this  small  book  the 
author  acknowledges  tne  great  advance  which  has  been 
made  in  the  study  of  Japanese  painting,  and  the  criti- 
cisms made  by  others  upon  his  own  work,  without  ill- 
nature  or  protest.  The  chapter  in  the  small  book  on 
Japanese  painting  should  be  read  as  a  revised  edition 
of  that  in  the  larger  book.  709.52 

Ocodyear,  William  H. 

Renaissance  and  Modern  Art.  Meadville, 
Pa.,  Flood  &  Vincent,  1894,  %\.  709 


Meadville.  Pa., 


Roman  and  Medi.kvai.  Art. 
Flood  1*4:  Vincent,  1S94,  Si. 

Professor  Goodyear  is  an  archaeologist  of  training  and 
ability,  who  in  the  more  favorable  surroundings  of  a 
European  country  would  probably  have  become  widely 
known  for  discovery  and  critical  labors.  Even  under 
very  untoward  circumstances  he  has  added  much  to 
our  knowledge,  as  for  instance  in  his  minute  study  of 
the  delicate  proportions  of  buildings  of  great  art  epochs. 
These  books  are  therefore  to  be  read  seriously.  They 
are  faulty  in  that  the  author  confuses  merely  technical 
skill,  in  fine  art,  with  artistic  power.  On  this  account 
he  IS  compelled  to  give  to  subject-matter— that  is,  the 
thing  or  things  represented  m  a  picture  or  work  of 
sculpture— far  more  weight  than  the  artists  themselves 
would  admit  that  it  had.  Even  a  religious-minded 
man  like  Michelangelo  would  have  painted  figures 
from  Roman  and  Greek  mythology  with  precisely  the 
same  power  and  success  that  he  attained  in  the  story  of 
Genesis  in  the  Sistine  Chapel.  He  might  have  refused 
to  undertake  it ;  there  his  feelings  as  a  good  Catholic 
would  have  their  way,  but  the  work  once  begun  would 
have  been  carried  out  with  his  full  strength.  As  soon 
as  he  began  to  paint  he  would  have  forgotten  every- 
thing else  because  of  his  absorption  in  the  vork  o/art: 
It  is  that  and  not  religion,  nor  morality,  nor  philosophy 
in  the  common  sense,  nor  truth  to  nature  except  as  ex- 
pressible in  art,  that  the  artist  cares  for  while  he  works. 
It  was  so  with  Michelangelo's  contemporary,  Raphael ; 
he  painted  large  frescoes  in  one  and  the  same  room, 
one  of  them  devoted  wholly  to  the  mysteries  of  the 
Catholic  faith,  the  so-called  Dispute ;  the  others  to 
wholly  non-religious  subjects,  viz.,  the  "  School  of  Ath- 
ens "  and  the  "Poetry  "  with  Apollo  presiding  over  it . 
and  these  are  his  most  important  works,  indistinguish- 
able in  merit.  Indeed,  Michelangelo's  own  "Dawn" 
and  "Twilight,"  and  the  portraits  of  the  Medicean 
dukes  all  attached  to  the  famous  tombs  at  San  Lorenzo 
in  Florence,  have  called  forth  his  full  strength,  ana  are 
at  least  equal  to  his  Risen  Christ  or  his  Pieti^  at  Rome. 

709.37 
Qrimm,  Hermann  F. 

Like  ok  Michael  Angelo.      Host.,    Little, 
Hrown  &  Co.,  1896,  2  v.,  §6. 

Not  the  most  sympathetic  nor  the  most  critical  of 
the  many  lives  of  Michelangelo,  but  containing  a 
great  deal  of  research  and  brought  down  to  date  as  to 
the  facts.  The  new  edition,  dated  1896,  in  two  vols., 
contains  about  40  photographic  Illustrations  taken  from 
the  works  of  the  master  and  generally  satisfactory.  It 
will  be  noticed  that  40  pictures  devoted  to  one  man's 
work  is  a  fairly  representative  showing.  920 

Orosvenor,  Edwin  O. 

Constantinople.      Illus.      Bost.,    Roberts. 
1895.  2  v.,  $10. 

Only  in  part  devoted  to  i>e  monuments  of  Constan- 
tinople ;  the  treatment  of  them  is  not  exactly  that  of  the 
student  of  art.  The  monuments,  however,  are  of  such 
extraordinary  importance,  and  are  so  little  known,  that 
even  inadequate  treatment  is  valuable  to  all  students. 
The  reader  should  be  warned  against  accepting  the 
archaeological  statements  as  equally  correct ,  some  are 
very  doubtful.  914.961 

Oruyer,  F.  A. 

Les    Oei!vrf.s    d'art    de    t.a    Renaissance 

ITAI.IENNE  All  TEMPLE   DE  SaINT-JeAN,   Bap- 

risiK.RE DE  Florence.    Paris,  Loones,  1875, 

10  fr. 

This  very  ancient  building  has  received  continual 
additions  and  adornments,  and  those  of  the  XV.  and 
XVI.  centuries  are  described  in  this  book.  The  his- 
tory of  a  simple  structure,  constantly  added  to  by  rich 
and  varied  works  of  art,  which  is  the  history  of  so 
many  now  splendid  buildings  A  Europe,  is  extremely 
suggestive  to  the  student.  700 

Hamerton,  Philip  Q. 

The   Intellectual    Life.      Bost.,    Roberts. 
75  c.  or  %z  ;  paper,  50  c. 

Not  a  treatise  on  fine  art,  but  valuable  because 
insisting  on  the  relation  of  the  graphic  arts  to  litera- 
ture and  study.  The  fine  arts  generally  occupy  little 
space  in  "  the  intellectual  life"  of  most  scholars  and 
students.  Most  writers  on  subjects  of  human  intelli- 
gence and  Its  labors  and  pleasures  know  very  little  of 
the  fine  arts  and  misunderstand  them  ;  for  which  reason 
this  and  other  books  by  men  who  approach  the  consid- 
eration of  such  subjects  from  the  side  of  tine  art  are 
very  valuable  to  the  student.  825 


1 
>% 

t 


Fine  Art. 


<T.     Meadville,  Pa., 

laeologist  of  training  and 
rable  surroundings  of  a 
bly  have  become  widely 
al  labors.  Even  under 
he  has  added  much  to 

in  his  minute  study  of 
I  ings  of  great  art  epochs. 
e  read  seriously.  They 
nfuses  merely  technical 
ower.  On  this  account 
ject-matter— that  is,  the 
a  picture  or  work  of 
n  the  artists  themselves 
ven  a  religious-minded 
I  have  painted  figures 
)logy  with  precisely  the 
1  attained  in  the  story  of 

He  might  have  refused 
ings  as  a  good  Catholic 
work  once  begun  would 
full  strength.    As  soon 

have  forgotten  every- 
tion  in  the  vork  a/art: 
lorality,  nor  philosophy 

to  nature  except  as  ex- 
ares  for  while  he  works. 
:ontemporary,  Raphael ; 
ne  and  the  same  room, 
o  the  mysteries  of  the 
Disputi ;  the  others  to 
'12.,  the  "School of  Ath- 
ipoilo  presiding  over  it , 
nt  works,  mdistinguish- 
angelo's  own  "Dawn" 
traits  of  the  Medicean 
s  tombs  at  San  Lorenzo 
IS  full  strength,  ana  are 
it  or  his  Piet^  at  Rome. 
709.37 

i.o.      Host.,    Little, 

Sf). 

lor  the  most  critical  of 
<elo,  but  containing  a 
light  down  to  date  as  to 
lated  1896,  in  two  vols., 
illustrations  taken  from 
inerally  satisfactory.  It 
s  devoted  to  one  man's 
showing.  020 


Bust.,     Roberts, 


monuments  of  Constan- 
IS  not  exactly  that  of  the 
ts,  however,  are  of  such 
are  so  little  Known,  that 
iraluable  to  all  students, 
against  accepting  the 
ually  correct ,  some  are 
014.861 


:  T,.\  Rf.naissanck 
K  Saint-Jk.\n,  HaI'- 
Paris,  Loones,  1875, 

has  received  continual 
I  those  of  the  XV.  and 
in  this  book.  The  his- 
itantly  added  to  by  rich 
;h  IS  the  hi.story  of  so 
A  Europe,  is  extremely 
700 


Host.,    Roberts, 

but  valuable  because 
:  graphic  arts  to  litera- 
generally  occupy  little 
'  of  most  scholars  and 
ijects  of  human  intelli- 
ires  know  very  little  of 
:hem  ;  for  which  reason 
10  approach  the  consid- 
the  Side  of  line  art  are 
825 


§ 


I 


TiioiciiTS  Ahoi't  Art.     Host.,  Roberts,  $2. 

This  book,  which  formed  originally  part  of  "The 
Painters' Camp,"  is  worth  reading  because  of  its  stig- 
•'estiveness.  Thus,  some  of  the  various  ways  in  which 
ifferent  painters  undertake  their  work  are  made  clear 
in  the  chapters  "Painting  from  Nature"  and  "Paint- 
ing from  memoranda."  The  general  relation  of  art, 
and  especially  painting,  to  the  general  world  of 
thought  and  perception  is  more  plainly  seen  after 
study  of  this  book,  especially  in  the  chapters,  "Tran- 
scendentalism in  Painting"  and  "Analysis  and  Syn- 
thesis." The  general  disregard  and  the  common 
contempt  for  art  among  English-speaking  people  is 
well  explained  and  its  consequences  pointed  out.     704 

Prksent  Staik  ok  the  Fine  Arp  ok  France, 
with  many  illustrations.  N,  Y.,  Macmillan, 
87-50. 

A  slight  and  popular  account  of  the  important  sub- 
ject named,  but  Mr.  Hamerton  is  better  informed  upon 
the  subject  than  almost  any  other  writer  in  English  and 
his  lightest  dicta  are  to  be  accepted  as  accurate  in  the 
essence.  One  chapter  is  devoted  to  impressionism,  one 
to  the  rustic  school,  one  to  the  survival  of  classical  sen- 
timent, etc.,  all  with  regard  to  painting ,  there  is  also  a 
chapter  on  sculpture,  and  one  on  architecture,  which  is 
very  inadequate,  finally  a  brief  chapter  on  engraving, 
including  etching.  There  are  twelve  full-page  prints 
from  etchings  by  competent  artists  and  about  seventy 
illustrations  in  the  text.  704 

Harford,  John  S. 

Like  ok  Michael  Angei.o  Buonarroti,  with 
Poems  and  Letters,  also  Memoirs  of  Savo- 
narola, Raphael,  and  Vittoria  Colonna. 
Lond.;  Longmans,  1857,  2  v.     Out  of  print. 

Each  of  the  biographies  of  Michelangelo  has  its 
peculiar  value,  as  is  shown  by  the  constant  references 
m  each  work  to  those  that  have  been  issued  previously. 
On  the  whole  the  one  by  Symonds  is  the  most  valuable, 
but  there  is  no  one  of^  them  that  is  not  well  worth 
possessing.  92U 

Harrison,  Jane  E. 

Introdictory  STimiES  IN  Greek  Art  ;  with 
map  and    illus.     N.    Y.,  Macmillan,   1S92, 

$2.25. 

Miss  Harrison  has  made  a  long-continued  study  of 
Greek  art,  residing  in  Athens  and  keeping  closely  in 
touch  with  realities.  The  attempt  in  this  work  is  to  ex- 
plain the  superiority  of  Greek  art  over  those  of  previous 
and  contemporary  peoples  by  what  is  here  called  its 
ideality  It  may,  perhaps,  be  pointed  out  that  there  is 
ideality  in  Egyptian  and  Syrian  art  too,  and  that  our 
authoress  is  not  sufficiently  ready  to  detect  and  explain 
this.  These  essays  are,  however,  extremely  suggestive, 
stimulating,  and  an  excellent  guide  to  the  student  of 
the  finest  sculpture  known  to  men.  013 

Mytholocy  and  Monuments  ok  Ancient 
Athens  •  a  translation  of  a  portion  of  the 
"Attica"  of  Pausanias,  by  Margaret  de  G. 
Verrall,  with  introductory  essav  and  ar- 
chjeological  commentary.  N.  Y.,  Macmil- 
lan, 1890,  $4. 

Much  more  than  a  guide-book  to  Athens.  As  the 
ancient  buildings  there  are  of  supreme  importance  in 
the  history  of  classical  architectural  structure,  this 
book,  with  Its  plans  and  illustrations,  is  a  valuable  aid 
to  any  one  who  would  like  to  study  monuments  upon 
the  spot  but  who  cannot  go  to  Athens  yet.  Illustra- 
tions from  painted  vases  are  used  with  great  skill  to 
explain  the  larger  and  more  permanent  monuments 

013 

Helbig,  Wolfgang. 

Guide  to  the  Public  Collections  of  Clas- 
sical Antiquities  in  Rome.  Transl.  by 
J.  T.  Muirhead.  Leipzig,  Baedeker,  1891, 
2  v.,  12  marks. 

The  museums  of  Rome  are  so  vast,  and  their  collec 
tions  so  varied  in  character  and  covering  so  large  a 
field,  that  any  adequate  treatise  upon  them  is  valuable 
even  to  stay-at-home  students.  Helbig  is  an  archaeolo- 
gist of  undisputed  authority  and  great  reputation,  who 
has  given  special  attention  to  the  antiquities  of  the  city 
of  Rome  and  its  neighborhood.  013 


Helbig,  Wolfgang,  aiu/  Lanciani,  Rodolfo. 

Article  Roman  Arch.kolocy,  Johnson's  Uni- 
versal Cyclop.tdia.     Ed.  1893-95. 

This  article  is  of  singular  value,  for,  although  it  is 
confined  to  the  city  of  Rome  and  its  neighborhood, 
the  whole  subject  of  building  and  tine  art  for,  perhaps, 
a  thousand  years  is  treated  in  it  with  great  knowledge 
and  critical  appreciation. 

James,  Henry. 

FoRKiON  Parts.  Leipsic,  Tauchnitz  ;  N.  Y., 
Lemcke  &  Buechner,  50  c. 

Noticeable  among  the  records  of  travel  written  by 
literary  men  for  its  insight  into  the  graphic  arts.  The 
student  of  line  art  is  so  generally  compelled  to  say  that 
the  literary  man  does  not  understand  nim  nor  his  point 
of  view,  that  this  noteworthy  exception  is  most  gratify- 
ing. &1(> 

Transatlantic  Sketches.  Best.,  Hough- 
ton, 18S2,  52. 

See  what  is  said  with  regard  to  this  author's  book. 
"  Foreign  Parts."  A  sense  of  how  far  it  is  sale  for  the 
non-professional  traveller  to  commit  himself  is  an  essen- 
tial part  of  intelligent  writing  on  the  works  of  art  that 
he  meets  with '  this  sense  is  possessed  by  Mr.  James 
in  an  altogether  unusual  degree.  OlO 

Jarves,  James  Jackson. 

A  Glimpse  at  the  Art  ok  Japan.  Bost.. 
Houghton,  1876,  §2. 50. 

Written  in  haste,  at  the  time  when  Japanese  art  had 
only  begun  to  excite  attention  in  Europe.  It  is,  more- 
over, the  work  of  a  man  not  gifted  with  much  insight 
into  line  art  conditions.  The  large  number  of  repro- 
ductions from  Japanese  picture-books,  and  the  at- 
tempted explanation  of  their  meaning  is,  however,  an 
aid  to  students  of  the  subject  if  they  have  not  more 
authoritative  works  at  hand  ;  it  is  interesting  to  see 
how  Europe  and  the  United  States  philosophized  over 
the  new  and  not  well  understood  fine  art  when  it  first 
came  to  their  notice.  700.52 

Jewitt,  Llewellyn. 

Halk  Hours  Amono  Some  English  Antiqui- 
ties. Lond.,  Hardwick  &  Bogue,  1877, 
5s.     Out  of  print. 

An  excellent  simple  account  of  the  remains  of  pre- 
historic mounds,  stone  circles,  etc.,  also  of  the  earthen- 
ware, weapons,etc.,of  early  timesfound  in  England.  A 
good  introduction  to  the  subject  of  archaeology  of  the 
northern  nations.  There  are  also  chapters  on  church 
bells,  stained  glass,  encaustic  tiles,  and  other  antiqui  > 
ties  of  the  later  Middle  Ages.  013.42 

Koehler,  8.  R. 

American  Art,  Illustrated  by  25  plates  ex- 
ecuted by  the  best  American  etchers  and 
wood-engravers,  from  paintings  selected 
from  public  and  private  collections,  with 
text  by  S.  R.  Koehler  (Curator  of  the  Print 
Dept.  in  Boston  Museum  of  Fine  Arts),  i 
vol.,  folio.     N.  Y.,  Cassell,  $15.  700 

La  Farge,  John. 

An  Artist's  Letters  from  Japan.  Illus- 
trated by  the  author.     N.  Y.,  Century  Co.: 

1897,  $3. 

A  part  at  least  of  the  material  of  this  book  has  ap- 
peared in  the  Century  Magazine.  The  book  is  an- 
nounced to  appear  early  in  1807.  It  will  be  a  volume 
of  250  pages,  containing  about  forty  illustrations  by  the 
author.  The  letters  will  be  found  to  contain  much  of 
the  most  delicate  and  subtle  thought  about  art  that 
has  ever  been  written  even  by  Mr.  La  Karge.    700.32 

Lanciani,  Rodolfo. 

Ancient  Rome  in  the  Light  of  Recent  Dis- 
coveries.    Bost.,  Houghton,  1889,  $6. 

Mr.  Lanciani  is  so  profoundly  versed  in  the  archae- 
ology of  his  native  city  and  in  Roman  archaeology 
throughout  the  peninsula,  that  he  writes  u(>on  these 
topics  as  a  final  authority  ;  even  the  popular  treatment 


8 


Fine  Art. 


rvT'.' 


of  his  theme  cannot  in  any  way  interfere  with  the 
thoroughness  of  the  treatises  included  in  it.  Roman 
archeemoey  is  of  unique  importance  to  all  students  of 
the  art  o7  Modern  Europe,  and  yet  it  has  been  but 
little  studied  and  we  are  only  beginninpr  to  obtain  the 
power  of  understanding  it  in  a  general  sense.  These 
excellent  papers  are  among  the  most  important  aids 
offered  to  students.  045.6 

Pagan  and  Christian  Romk.  Host.,  Hough- 
ton, 1893,  $6. 

See  what  is  said  above  under  Ancient  Rome.  The 
present  work  is  in  a  sense  its  continuation,  and  may  be 
recommended  with  equal  confidence.  Among  the  titles 
of  its  chapters  are:  "  Christian  Churches."  "Christian 
Cemeteries,"  "  Pagan  Shrines  and  Temples,"  "  Pagan 
•Cemeteries  j "  two  very  interesting  chapters  deal  with 
Imperial  and  Papal  Tombs.  045.6 

History  ok  the  Destruction  ok  Ancient 
Rome.  Illus.  N.  Y.,  Macmillan.  An- 
nounced without  date. 

See  what  is  said  of  this  author  under  his  other 
works.  945.6 

Xiane,  Edward  William. 

Manners  and  Customs  ok  the  Modern 
Ec.yi'TIans.      Illus.     Lond.,  John  Murray, 

187I,  2  v.,  I2S. 

There  is  no  such  handbook  as  this  for  the  study  of  a 
country  and  people  of  alien  race  and  religion.  In  order 
to  understand  the  Moslem  nations  a  familiarity  with 
this  book  is,  perhaps,  essential,  and  is  certainly  most 
useful.  The  fine  arts  of  any  race  can  only  be  rightly 
understood  by  those  who  are  somewhat  familiar  with 
the  beliefs,  customs,  and  traditions  of  that  people. 

913.32 

Xaugel,  Auguste. 

L'Oi'TiQUE  ET  LES  ARTS.  Paris,  Bailliere, 
1869,  fr.  2.50. 

Mr.  Laugel  is  a  writer  of  philosophical  tendencies, 
who  with  a  rare  intelligence  has  combined  political  and 
scientific  thought  with  philosophy.  This  treatise  is  a 
semi-scientific  examination  of  the  part  played  by  the 
eye  in  the  graphic  and  plastic  arts.  701 

Liane-Poole,  Stanley.    -S'lV  Poole,  Stanley  Lane. 

Ijechevallier-Chevignard,  Edmond. 

Les  Styles  Fran(,ais.  (B.E.B.A.)  Paris, 
Quantin,  1S92,  5  fr. 

An  admirable  treatise  in  which  the  great  epochs  of 
art  in  France  are  well  discriminated,  and  the  works  of 
art  of  all  varieties  belonging  to  one  epoch  are  con- 
sidered and  compared.  700 

liemonnier,  Henry. 

Etudes  d'art  et  d'histoire  de  i.'art  fran- 
<;ais  au  temi's  dk  Richelieu  kt  Mazarin. 
Paris,  Hachette,  1S93,  fr.  3.50. 

A  valuable  book  dealing  with  the  long  period  of 
French  art,  the  works  of  which  are  not  much  studied 
out  of  France.  It  is  too  much  the  custom  to  dismiss 
this  art  of  the  XVII.  century  as  that  of  the  decadence 
and  as  lacking  in  solid  value.  700 

Iienormant,  Fran9ois. 

La  GRANDE-GRfecE  :  Paysaoes  et  Histoire. 
Paris,  A.  L6vy,  1884,  3  v.,  12  fr. 

The  extreme  south  of  Italy  has  been  very  little  ex- 
plored by  archaeologists,  even  since  the  time  of  the 
journey  recorded  in  these  volumes  in  1879.  This  jour- 
ney was  only  a  rapid  exploration,  which  the  auther  no 
doubt  would  have  followed  up  had  he  lived  longer. 
As  a  rapid  passing  in  review  of  the  architectural  and 
other  treasures  of  the  far  South,  at  once  an  interesting 
and  instructing  book.  The  historical  and  legendary 
value  of  each  place  receives  full  attention ;  thus,  forty 
pages  are  devoted  to  all  that  documentary  evidence  has 
to  give  about  the  ancient  Metapontum  before  the  de- 
scription of  the  ruined  Temple  begins;  a  description 
which  has  to  be  brief  because  no  excavations  or  re- 
searches have  been  undertakea  on  the  site.       013.38 


Lethaby,  W.  R. 

Architecture,  Mysticism,  and  Myth.  Il- 
lus. N.  Y.,  Macmillan,  1892.  Out  of 
print. 

Forms  a  curious  contrast  to  the  straightforward 
common  sense  of  the  author's  "  Leadwork."  To  those 
who  believe  that  symbolism  has  an  important  influence 
over  architecture,  this  work  may  be  recommended.  I 
is  the  purpose  of  these  notes  to  insist  upon  the  artist's 
view  of  art  as  distinguished  from  the  moralist's  or  the 
religious  teacher's  view  of  art ;  it  is  hard  to  believe  that 
the  artist  has  been  much  swayed  in  the  past  or  that  he 
is  now  much  swayed  by  other  than  artistic  and  struct- 
ural considerations.  This  book  is  in  a  sense  a  body  of 
argument  on  the  other  side  of  this  question,  and  may 
be  taken  as  such.  720. 1 

Lttbke,  Wilhelm. 

Geschichte  der  deutschen  Kunst  von  den 
frOhesten  Zeiten   his  /ur    Gegenwart. 
Stuttgart,  Neff,  1894,  22  marks. 
A  connected  history  of  German  art  to  which  on  oc- 
casion the  work  of  Fiirster  with  its  many  illustrations 
would  serve  as  adjunct.    The  book  should  be  translated, 
for  it  IS  one  of  the  author's  latest  productions.         700 

Marshall,  Henry  Rutgers. 

..Esthetic  Principles.  N.  Y.,  Macmillan, 
1895,  $1.25. 

The  attempt  of  the  author  of  "  Pain,  Pleasure,  and 
iCsthetics  "  to  explain  in  a  brief  and  easily  grasped  form 
so  much  of  his  theory  as  should  be  read  by  students  of 
art.  Metaphysical  inquiry  into  the  sources  of  pleas- 
ure in  art,  or  in  beauty,  has  but  little  to  do  in  art-study, 
but  this  book  is  prepared  by  an  architect  in  active  prac- 
tice and  a  designer  of  ability,  and  demands  especial 
notice  on  that  account.  701 

Martha,  Jules. 

Manuel  d'Arcii£oloc;ie  Etrusque  et  Ro- 
MAiNE.     (B.E.B.A.)     Paris,  Quantin,  5  fr. 

In  this  handbook  Roman  art  is  treated  as  in  a  sense 
a  development  of  the  Etruscan  art,  much  modified  by 
Greek  influence.  Roman  art  as  we  know  it,  that  is 
the  art  of  the  Imperial  epoch,  has  little  trace  left  of  its 
Etruscan  origin,  but  it  is  not  to  be  doubted  that  the  art 
of  the  Republic  was  almost  wholly  Italian  at  least,  if 
not  wholly  Etruscan  in  a  technical  sense.  The  author 
is  entirely  competent  and  has  furnished  the  student 
here  with  a  book  much  more  valuable  than  its  small 
size  and  simplicity  would  indicate.  913 

L'Art  Etrusque.  Paris,  Firmin-Didut  & 
Cie.,  1889,  40  fr. 

A  larger  and  more  elaborate  work  by  the  author  of 
the  book  mentioned  above.  It  contains  many  illustra- 
tions and  IS  the  best  general  book  on  the  subject  as  yet 
issued.    Compare  the  book  by  Dennis.  913 

MaskeU,  Alfred. 

RirssiAN  Art  and  Art  Ohjects  in  Russia. 
Lond.,  Chapman  it  Hall,  18S4,  4s.  6d. 

Russian  decorative  art  is  of  two  kinds,  the  tradition- 
al adornment,  as  of  the  semi-Asiatic  people,  and  the 
much  more  sophisticated  design  which  has  been  partly 
inspired  by  Western  Europe.  Concerning  the  former 
of  these,  consult  the  work  named  under  Viollet-le-Duc, 
The  naturally  designed  housesof  the  people  are,  in  some 
parts  of  the  vast  empire,  log-houses,  of  an  improved 
sort,  so  to  speak,  and  the  design  of  these  is  sometimes 
remarkably  effective.  As  regards  the  less  admirable 
Russian  design,  the  enamelled  metal  work,  rather  com- 
mon in  our  shops  since  1890,  or  thereabout,  may  be 
cited.  It  is  not  without  merit  as  combination  of  color 
but  is  hard,  cold,  and  monotonous.  913 

Maspero,  O. 

ARCHfeOLOOIE       fic.YPTIENNE.  (B.E.B.A.) 

Paris,  Quantin,  5  fr.     Transl.  by  Amelia  B. 

Edwards  as  Eoyi'TIAN  Arcii.«ology.    Illus. 

4th  edition,  revised.     N.  Y.,  Putnam,  1805, 

$2.25. 

Puts  a  very  large  subject  into  such  form  that  its 
main  outlines  can  be  easily  understood.  The  present 
edition  is  revised  to  date  in  accordance  with  newly 
discovered  facts ;  new  illustrations  are  added,  such  as 


Fine  Art. 


5M.  AM>  Myth.     II- 
an,    1892.      Out    of 

to  the  straightforward 
"Leadwork."  To  those 
is  an  important  influence 
ajr  be  recommended.  I 
a  insist  upon  the  artist's 
)m  the  morahst's  or  the 
;  it  is  hard  to  believe  that 
ired  in  the  past  or  that  he 
than  artistic  and  struct- 
k  is  in  a  sense  a  body  of 
!  this  question,  and  may 
720.1 


JEN  KUNST  VON  DEN 
S    ZTR     GeGENWART. 

2  marks. 

•man  art  to  which  on  oc- 
th  its  many  illustrations 
00k  should  be  translated, 
:st  productions.         709 


N.    Y.,    Macmillan, 


of  "  Pain,  Pleasure,  and 
f  and  easily  grasped  form 
d  be  read  by  students  of 
ito  the  sources  of  pleas- 
it  little  to  do  in  art-study, 
1  architect  in  active  prac- 
U  and  demands  especial 
701 


;    ETRt'SQrE    ET    Rn- 

'aris,  Quantin,  5  fr. 

rt  is  treated  as  in  a  sense 
n  art,  much  modified  by 

as  we  know  it,  that  is 
has  little  trace  left  of  its 
0  be  doubted  that  the  art 
'holly  Italian  at  least,  if 
lical  sense.  The  author 
IS  furnished  the  student 

valuable  than  its  small 
ate.  013 

is,    Firtnin-Didut    & 


te  work  by  the  author  of 

It  contains  many  illustra- 

ook  on  the  subject  as  yet 

Dennis.  013 


OnjECTS  IN   RlSSIA. 
.11,  1SS4,  4s.  6d. 

two  kinds,  the  tradition- 
i-Asiatic  people,  and  the 
;n  which  has  been  partly 
Concerning  the  former 
led  under  Viollet-le-Duc. 
of  the  people  are,  in  some 
-houses,  of  an  improved 
gn  of  these  is  sometimes 
;ards  the  less  admirable 
I  metal  work,  rather  corn- 
er thereabout,  may  be 
as  combination  of  color 
tious.  913 


NNE.  (B.  E.  K.  A.) 
Transl.  by  Amelia  B. 
\rch.icoi,ogy.  lllus. 
>J.  Y.,  Putnam,  1895, 


into  such  form  that  its 
nderstood.    The  present 

accordance  with  newly 
itions  are  added,  such  as 


those  of  Petrie  and  Naville,  or  those  setting  forth  the 
text  more  fully.    An  accurate  and  attractive  work. 

913.32 

Dawn  ok  Civilization:  Er.vpT  and  Chai.- 
D.EA.     lllus.     N.  Y,,  Appleton,  1894,  $7.50. 

Translated  by  M.  L.  McClure,  a  member  of  the  Com- 
mittee of  the  Egypt  Exploration  Fund,  and  edited  by 
the  well-known  and  universally  recognized  archae- 
ologist, A.  H.  Sayce,  Professor  of  Assyriology  at  Ox 
ford.  Something,  but  not  much,  has  been  added  by  the 
editor  to  Maspero's  text.  To  Egypt  Is  devoted  nearly 
three-quarters  of  the  work  ;  for  the  archxological  study 
of  Egypt  is  nearly  a  century  old,  but  that  of  Chaldaea 
a  thing  of  yesterclay.  The  history  of  these  ancient  na- 
tions is  inseparable  from  their  fine  art,  as  it  is  from  this 
that  their  history  is  chiefly  learned.  913 

The  STRiT.r.i.E  ok  the  Nations  :  Ecvi't, 
SvRiA,  AM)  Assyria.  N.  Y.,  Appleton, 
1896,  $7.50. 

In  a  sense  a  continuation  of  the  "  Dawn  of  Civiliza- 
tion," taking  up  the  history  of  Egypt  ut  the  14th  Dy- 
nasty. 913 


Maxwell,  Sir  W.  Stirling. 

well. 


.S',('  StirlinK-Max- 


Michelangelo,  Lives  of.  .V<v  Grimm,  H.  F.; 
Harford,  J.  .S. ,  and  Wilson,  C.  H.,  Part  I.; 
also  Sweetser,  M.  F.,  Part  11. 

Menard,  Rene. 

Art  antkji'k,  1S70,  2  fr. 

Art  DU  MoYEN  ace,  1S72,  2  fr. 

Art  moderne,  1S74,  2  fr. 

HISTOIRE    Il.I.l'STRfeE    DES    BEAIX-ARIS,     1874, 

12  fr. 
All    published    Paris,    Lib.    de    I'Echo   de   la 
Sorbonne. 
By  a  competent  writer  recently  dead.  700 

Middleton,  J.  Henry. 

Remains  ok  Anciem   Rome.    lllus.    N.  V.. 
Macmillan,  1S92,  2  v.,  $7. 

An  enlarged  edition  of  "Ancient  Rome  in  1885," 
afterwards  called,  in  a  new  edition,  "  Ancient  Rome  in 
1888."  This  account  of  the  ruins  and  other  remains  of 
the  ancient  Roman  world  contained  in  the  city  and  its 
neighborhood  includes  a  full  description  of  materials 
and  processes  of  building  anciently  in  use,  and  is 
valuable  to  u  student  of  architecture.  913.376 

MiUet,  Frank  D.;  Low,  WUl  H.;  Mitchell, 
J.  A.;  Oibson,  W.  Hamilton ;  Smith,  F.  Hop- 
kinson. 

.Some  Artists  at  the  Fair.  N.  Y.,  Scrib- 
ner,  1S93,  81.25. 

This  book  is  catalogued  under  the  name  of  Millet, 
because  that  artist's  paper  on  "  The  Decoration  of  the 
Exposition"  occupies  nearly  half  the  book  and  treats 
of  by  far  the  most  important  part  of  the  general  sub- 
ject. The  decoration  by  figure  painting  and  to  a  less 
degree  by  figure  sculpture  was  what  was  most  impor- 
tant at  Chicago  in  1893 ;  this  inexpensive  little  book 
gives  an  account  of  that  decoration  as  good  if  not  quite 
us  full  as  the  expensive  subscription-buok  which  deals 
with  so  much  besides.  700 

Molmenti,  P.  O. 

La  Vie  Priv^e  A  Venisk.  Venice,  Ongania, 
iS8i,  8  fr.  (Italian  ed.,  same  publisher, 
7  lire.) 

Although  not  a  treatise  on  art  this  book  is  valuable 
to  students  of  the  Italian  fine  art  of  the  Renaissance. 
i.nd  to  a  lesser  degree  to  the  student  of  Byzantine  and 
other  early  art.  "The  reproduction  of  bygone  times  is 
extremely  intelligent  ana  suggestive  ;  the  author  gives 
far  more  attention  to  the  fine  arts'  side  of  life  and  to  the 
rich  costume  and  the  stately  and  decorative  ceremonies 
which  entered  deeply  into  the  life  of  the  people  and 
formed  a  part  of  the  art  which  we  now  admire.  There 
are  a  few  excellent  illustrations. 


The  French  form  of  the  book  is  given  in  preference 
to  the  Italian  original  as  far  better  known.  It  is  trans- 
lated from  the  second  or  third  Italian  edition.     946.3 

Moody,  F.  W. 

Lectures  and  Lessons  on  Art:  Beinp,  an  In- 
troduction TO  A  Practical  and  Comtre- 
hensive  Scheme.  8th  edition.  lllus.  N. 
Y.,  Macmillan,  1893,  $1.25. 

An  extremely  valuable  treatise  on  the  right  princi- 
ples of  learning  to  draw  and  the  way  to  begin  the  study 
of  design.  The  author  seems  to  be  perfectly  aware  of 
the  impossibility  of  teaching  people  to  design,  but  he 
finds  some  important  general  principles  which  maybe 
laid  down  as  universally  true.  Like  many  artists  whose 
attention  is  given  chiefly  to  painting  and  drawing,  he 
fails  to  see  the  value  of  such  constructional  architecture 
as  that  of  the  Gothic  style  ;  this  comes  of  the  inherited 
teaching  of  the  Renaissance  and  succeeding  schools. 
The  styTe  of  the  book  is  epigrammatic  and  even  fanciful . 
1 1  is  therefore  well  fitted  to  fix  the  attention  :  but  such  a 
style  is  apt  to  lead  the  author  to  positive  decisions  ad- 
mitting of  no  differences  of  opinion.  Now  in  art  there 
are  no  truths  so  positive  as  that.  707 


Bost.,  Roberts, 


Morris,  William. 

Hoi'Es  AND  Fears  kor  Art. 

$1.25- 

Mr.  Morris  had  a  thorough  understanding  of  the 
shortcomings  of  modern  art,  and  especially  of^lhe  arts 
of  decoration,  architecture  being  the  chief.  He  saw 
very  clearly  the  ruin  of  architecture  by  the  conscious, 
academic,  unnatural  method  of  study  of  modern  times 
and  by  the  commercial  spirit  which  controls  it.  He 
saw  also  the  way  in  which  the  arts  of  the  far  East  have 
been  and  are  being  destroyed  by  the  interference  of  Eu- 
ropean commercial  methods.  "The  complete  disappear- 
ance, owing  to  such  causes  as  these,  of  the  ancient, 
traditional,  and  popular  art  of  Europe  is  one  important 
cause,  no  doubt,  of  this  author's  turning  to  aggressive 
socialism  during  his  later  years.  704 

Morse,  Edward  S. 

Japanese  Homes  and  Their  Surroundings. 
lllus.     N.  Y.,  Harper,  $3. 

Valuable  because  showing  how  primitive  are  the 
plans  of  houses  and  how  simple  is  the  life  of  the  Japan- 
ese, who  are  the  most  artistical  people  of  our  time.  It 
is  well  to  observe  how  easily  good  taste  and  delicate 
designing  can  be  separated  from  large  outlay. 

The  Japanese  domestic  life  is  so  extremely  simple  ; 
the  outfit  of  furniture  in  a  dwelling  Is  so  very  small, 
and  the  building  itself  is  of  so  light  and  temporary  u 
character  that  tnat  which  is  characteristic  of  the  dec- 
orative art  of  Europe  is  absent.  The  Japanese  man  of 
wealth  does  not  sit  in  a  large  room  surrounded  by 
sculpture,  paintings,  cabinets  full  of  choice  and  costly 
objects  of  art  seen  through  glass,  and  larger  pieces  of 
bronze  and  porcelain  standing  on  every  side.  The 
room  is  generally  bare  of  adornment,  and  decorated 
only  by  extreme  neatness  and  precision  of  workman- 
ship together  with  some  very  delicate  choice  shown  in 
the  wood  employed,  and  the  single  roll-picture  (kake- 
mono) with  a  bronze  vase  in  front  of  it,  which  vase 
holds  generally  a  branch  of  a  blossoming  plant,  or  two 
or  three  flower-stands  carefully  arranged.  The  lavish 
decoration  bestowed  upon  minute  bronze  disks,  the 
handles  of  knives  and  swords,  small  lacquered  boxes 
carried  in  the  girdle,  and  little  cases  for  smokers  is  not 
rightly  understood  until  the  absence  of  such  decoration 
from  large  surfaces  is  perceived.  Mr.  Morse's  book  is 
a  thorough  study  of  that  strange  manifestation  of 
Japanese  life  of  which  we  have  just  spoken,  although 
it  IS  probable  that  the  book  deals  too  exclusively  with 
the  homes  of  the  middle  class  and  there  may  be  addi- 
tional truths  to  be  learned  concerning  the  interiors  of 
homes  of  persons  of  the  highest  rank  and  station. 

722.1 

Mtintz,  Eugene. 

La  Renaissance  en  Italie  et  en  Franci:  a 
l'6i'0(jie  de  Charles  VIII.  lllus.  Paris, 
Didot,  1885,  30  fr. 

This  va'i  able  book  is  to  be  studied  in  connection 
with  those  by  De  Laborde  and  Mrs.  Pattison  for  the 
history  of  art  in  France.  For  art  in  Italy  MUntz's 
own  works  are  the  best,  except  those  works  on  special 
branches  and  those  monographs  which  hardly  come 
within  the  scope  of  this  bibliography.  Compare,  how- 
ever, the  different  works  on  architecture  in  Part  III.; 
some  of  thes^  contain  the  record  of  so  much  of  the 
Renaissance  as  had  to  do  with  building.  709 


lO 


Fine  Art. 


•11 


I' 


w 


HisToiRE  DE  I,' Art  Pendant  La  Renais- 
sance. Vol.  I.,  Italic:  Les  I'rimitifs,  30  fr. 
—Vol.  II.,  Italic:  L'Agc  d'dr,  35  fr.— Vol. 
III.,  Italic:  La  Fin  de  ia  Renaissance,  35 
fr.     Paris,  Hachette  &  Cic,  1895. 

These  large  volumes,  elaborately  illustrated,  will  be 
found  too  expensive  for  many  libraries,  but  are  of 
sin)^lar  importance  to  all  who  would  make  a  serious 
study  of  the  fine  arts  in  general  or  of  modern  painting, 
sculpture,  and  decoration.  Learning  and  a  true  sense 
of  tne  meaning  of  fine  art  have  been  combined  in  this 
work  in  a  very  unusual  way.  The  Renaissance  in  art 
is  wholly  of  Italian  origin,  however  much  it  may  have 
been  modified  when  in  later  years  it  began  to  influence 
other  nations.  709 

Les  Pr^curseurs  de  la  Renaissance.    Paris, 

Librairie  de  I'Art,  1882,  25  fr. 

A  valuable  study  of  the  influences  which  were  at 
work  in  Italy  during  the  XIV.  century  and  the  early 
years  of  the  XV,,  all  tending  toward  that  strange  and 
brilliant  development  of  fine  art  which  marks  the  early 
years  of  the  Renaissance.  Those  who  study  this  au- 
thor's large  work  in  three  volumes,  named  above,  may, 
perhaps,  dispense  with  this  one,  although  this  is  a  valu- 
able study  in  itself.  700 

Florence  et  Toscane.  Paris,  Hachette, 
40  fr. 

A  more  familiar  treatise  on  the  noticeable  works  of 
art  of  this  singularly  artistic  region  of  Italy.  700 

Murray,  A.  S. 

Article  Arch.€OLOGY,  the  Classical  part,  be- 
ginning p.  343,  Encyclopedia  Hritannica, 
gth  ed. 

Although  much  advance  has  been  made  in  archeol- 
ogy since  this  volume  was  published  (1878),  this  trea- 
tise may  be  used  with  advantage  by  those  who  have  not 
access  to  the  same  author's  book  next  named. 

Handbook  of  Greek  ARCH.*:()Lor,Y  ;  Vases, 
Bronzes,  Gems,  Sculpture,  Terra-Coita, 
Mural  Paintincis.  Architectire,  etc. 
With  numerous  illustrations.  Lond.,  John 
Murray,  i8s.     N.  Y.,  Scribner,  $6. 

By  a  very  competent  archseologist ;  devotes  much 
space  to  the  painted  and  other  pottery  vases  of  the 
Greeks ;  of  course,  a  very  important  branch  of  archaeol- 
ogy. Sculpture  in  marble  and  bronze  and  on  a  larger 
scale  IS  also  discussed  with  some  fulness.  Architect- 
ure receives  very  brief  treatment.  013.38 

Norton,  Charles  Eliot. 

Notes  of  Travel  and  Study  in  Italy. 
Host.,  Houghton,  1896,  Si. 25. 

Of  unique  value  because  of  its  delicate  appreciation 
of  the  value  of  fine  art.  A  part  of  the  book  is  devoted 
to  an  account  of  the  building  of  Orvieto  cathedral  in  the 
XIV.  century;  the  way  of  proceeding,  so  different 
from  the  modern  way  in  similar  cases,  is  well  worth 
careful  consideration  by  all  students.  014.6 

Owen,  A.  O. 

Art  Schools  of  Medi.€val  Christendom. 
Edited  by  J.  Ruskin.  Lond.,  Mozley  & 
Smith,  1876.     Out  of  print. 

Miss  Owen's  book  is  a  useful  introduction  to  the 
study  of  mediaeval  sculpture  and  XV.  century  painting 
together  with  their  related  arts.  The  tone  of  criticism 
is,  however,  that  suggested  by  a  study  of  Mr.  Ruskin's 
works.  700 

Paleologue,  Maurice. 

L'Art  Chinois.  (B.E.B.A.)  Paris,  Quan- 
tin,  5  fr. 

Divided  into  Bronzes ;  Architecture ;  Carved  Stone ; 
Carved  Wood  and  Ivory ;  Work  in  Hard  Stones— that 
is,  jade,  rock  crystals,  and  the  like ;  Ceramics,  Glass, 
Enamels,  Paintings,  Lacquer.  The  author  has  been 
much  in  China,  but  probably  the  greater  part  of  his 
study  of  the  works  of  Chinese  art  has  been  in  the 
splendid  private  collections  of  Paris  and  its  neighbor- 
hood. He  has  been  successful  in  insisting  upon  the 
truly  lofty  and  worthy  character  of  the  fine  art  which 
has  seemeid  to  so  many  Western  people  only  trivial. 

700 


Palgrave,  Francis  Turner. 

Essays  on  Art.  Lend.,  Macmillan,  1866,  6s. 
Out  of  print. 

Should  be  read  in  connection  with  Mr.  Rossetti's 
book  named  below.  Mr.  Palgrave  is  the  well-known 
compiler  of  the  "Golden  Treasurv,"  a  scholar  and 
literary  man  who  gave  much  thought  to  art  during  the 
years  previous  to  tne  publication  of  this  book.        704 

Paravicini,  T.  V. 

Le  Arti  del  Diseono  in  Italia;  Parte  Terza, 
L'Evo  Modcrno.     Milan,  Vallardi,  30  lire. 

This  volume  is  the  third  of  a  series  (see  under  Scl- 
vatico  and  also  Selvatico  and  Chirtani).  The  three 
works  together  give  the  history  of  art  in  Italy  from  the 
earliest  times  to  the  middle  of  the  XVI 1 1,  century. 
The  treatment  is  entirely  popular  and  the  arrangement 
of  the  material  is  not  the  best  conceivable.  It  is,  how- 
ever, of  the  highest  value  to  students  to  see  an  impor- 
tant national  art  as  far  as  they  may  with  the  eyes  of  the 
nation  that  called  it  forth.  In  the  absence  of  more 
critical  works  in  Italian,  except  for  certain  limited 
epochs,  this  book  is  useful  700 

Pater,  Walter. 

Greek  Studies  :  Essays  prepared  for  the 
press  by  Chas.  L.  Shadwell.  N.  Y..  Mac- 
millan, 1895,  Si. 75. 

About  half  this  volume  is  devoted  expressly  to  the 
fine  art  of  the  Greeks ;  much  of  the  remainder  bears 
closely  upon  it.  What  is  said  of  Greek  sculpture  and 
Greek  feeling  for  art  is  very  suggestive  and  inspiring. 
No  man  not  nimself  an  artist  has  felt  more  accurately, 
and  as  it  seems  instinctively,  what  the  artist's  concep- 
tion IS.  013.38 

Pattison,  Mrs.  Mark. 

The  Renaissance  of  Art  in  France.  Lond., 
C.  Kegan  Paul  &  Co.,  1879,  2  v.  Out  of 
print. 

A  popular  account  of  one  of  the  most  extraordinary 
passages  in  the  history  of  fine  art.  Compare  what  is 
said  of  the  book  of  De  Laborde.  The  sense  of  dec- 
orative art,  as  in  architecture,  is  very  strong  in  this 
book,  and  if  painting  and  sculpture  are  not  wholly 
understood  in  their  true  artistic  sense,  the  book  is 
scarcely  less  valuable  as  a  body  of  information.      700 

Perate,  Andre. 

L'ARCllfiOLOCIE     CHRfeTIENNE. 

Paris,  Quantin,  1892,  5  fr. 

Christian  archaeology  in  the  sense  of  the  study  of  its 
iconography  and  its  artistic  remains  is  rapidly  attaining 
the  position  which  had  been  gained  before  by  the  study 
of  classical  art.  It  is  now  almost  a  science,  and  only 
strong  differences  of  creed  among  the  modern  students 
prevent  it  from  being  a  science  in  the  strict  sense. 
This  little  book  affords  an  admirable  introduction  to 
the  study  of  the  subject.  It  is  one  of  the  best  of  the 
excellent  series  to  which  it  belongs.  013 

Perrot,  Qeorges,  ct  Ohipiez,  Charles. 

HiSTOIRE     DE     L'ART     DANS     I.' AnTIQUIT^  : 

6gypte.  Paris,  Hachette,  1882,  30  fr. 
Transl.  by  Walter  Armstrong  as  History 
OF  Art  in  Ancient  Eoyi'T.  Lond.,  Chap- 
man &  Hall,  30s. 

The  first  volume  of  the  extensive  work  on  ancient 
art,  which  Mr.  Perrot,  who  is  a  member  of  the  Institute, 
and  Mr.  Chipiez,  who  is  an  architect  and  a  descriptive 
artist  of  great  skill,  are  engaged  in  producing.  The 
volumes  form  separate  books,  and  these  books  have 
been  translated  into  English  and  published,  generally, 
if  not  always,  in  two  volumes  to  each  one  of  the  French 
original.  In  accordance  with  the  custom  established  in 
this  catalogue  the  original  work  is  named  and  described. 
The  serious  defects  which  have  been  alluded  to  else- 
where (see  note  at  the  beginning  of  the  work)  as  exist- 
ing in  many,  and  even  most,  translations,  are  especially 
noticeable  in  some  of  these  volumes.  On  the  other 
hand  those  volumes  (see  separate  notices)  which  have 
been  translated  by  Walter  Armstrong  have  been  well 
done.  In  all  such  cases  it  is  altogether  better  to  possess 
and  use  the  original.  Librarians  might  do  well  to  en- 
courage those  who  use  their  libraries  to  make  some 
effort  toward  understanding  the  original  in  the  certainly 
which  they  may  feel  that  four  translations  out  of  five 
are  inadequate  and,  perhaps,  two  out  of  five  are  absurd. 


(B.E.B.A.) 


Fine  Art, 


If 


Macmillan,  iSfif),  Os. 


;tion  with  Mr.  Rnssetti's 
Igrave  is  the  well-known 
"reasury,"  a  scholar  and 
thougnt  to  art  during  the 
ion  01  this  book.       704 


Italia:  Parte  Terza, 
an,  Valiardi,  30  lire. 

f  a  serres  (see  under  Sel- 
nd  Chirtani).  The  three 
iry  of  art  in  Italy  from  the 
:  of  the  XVI 11.  century, 
lular  and  the  arrangement 
t  conceivable.  It  is,  how- 
students  to  see  an  imnor- 
y  may  with  the  eyes  of  the 

In  the  absence  of  more 
xcept  fur  certain  limited 
700 


ys   prepared    for   the 
I'adwcU.     N.  Y.,Mac- 


i  devoted  expressly  to  the 
.•h  of  the  remainder  bears 
id  of  Greek  sculpture  and 
r  suggestive  and  inspiring, 
t  ha«  felt  more  accurately, 
■,  what  the  artist's  concep- 
'  913.38 


RT  IN  France.    Lond., 
J.,  1879,  2  V.     Out  of 

>  of  the  most  extraordinary 
fine  art.  Compare  what  is 
borde.  The  sense  of  dec- 
ure,  Is  very  strong  in  this 
sculpture  are  not  wholly 
irtistic  sense,  the  book  is 
ody  uf  information.      700 


TIENNE.       (B.  E.B.A.) 
,  5fr. 

the  sense  of  the  study  of  its 
remains  is  rapidly  attaining 
1  gained  before  by  the  study 
almost  a  science,  and  only 
imong  the  modern  students 
icience  in  the  strict  sense, 
admirable  introduction  to 
it  is  one  of  the  best  of  the 
belongs.  013 

>iez,  Charles. 

T  DANS  i.'ANTigriTfi : 
achette,  1882,  30  fr. 
\rmstrong  as  History 
EuYlT.  Lond.,  Chap- 
extensive  work  on  ancient 
IS  a  member  of  the  Institute, 
architect  and  a  descriptive 
igaged  in  producing.  The 
i)ks,  and  these  books  have 
hand  published,  generally, 
esto  each  one  of  the  French 
th  the  custom  established  in 
rork  is  named  and  described, 
have  been  alluded  to  else- 
nningof  the  work)  asexist- 
;,  translations,  are  esijecially 
>e  volumes.  On  the  other 
sparate  notices)  which  have 
Armstrong  have  been  well 
I  altogether  better  to  possess 
arians  might  do  well  to  en- 
eir  libraries  to  make  some 
I  the  original  in  the  certaini  y 
tour  translations  out  of  five 
t,  two  out  of  five  are  absurd. 


4 


i 


This  work  on  F-(,'y|it  is  the  most  complete  embodi- 
ment we  h.ive,  in  a  b.puk  of  'iindfratc  size,  lu'  what  was 
known  at  the  lime  of  us  publication  about  ligyptian 
art  700.3 

lllsnilKK  l>K  I.'.VRI-  HANS  T.'ANTIOriTK;  ClIAI,- 

iiKK   K.r   Ass^•Kll•■..      Paris,    I  lachuttc,    1SS4, 
30   fr.      Traiisl.    by   Walter    .ArinstronK  as 
llisioKV  111'  .\mii:n  i'  An  1  IN  Cm Ai.D.KA  and 
AssVKlA.      Lmi'l.,  C."lia|)iiian  iV  Hall,  42s. 
The  SLKiiul   liook  by  tlu'sir  authors  of   the  scries 
spoken  of  above  iiiuler  the  work  on  l'^j;ypt      It  contains 
miirli  more  tliat  isoritrinal  than  the  IvK'ypt,  because  tile 
sullied  IS  mucli  more  novel  in  arclia'oloL'ieal  study,  and 
indeed  tlie  writer  knows  of  no  work,  lart;e  or  small, 
wliicli  irives  what  is  ecuuained  in  tins  one.     The  trea- 
tise on  .Assyrian  architecture  is  a  h'rcal  addition  to  our 
knowlcdKc.  700 

HlSldlKK  DK  I.'.AUT   DANS   I.'.ANTinriTK  .    Pllfe- 

NKIK  K'l'  C\  I'KK.  i'aris.  I  lachuttc,  1.SS5, 
30  fr.  Traiisl,  tiy  Walter  .ArmstronK  as 
HisTiiKv  (ii-  .AMi'i-Nr  Akt  in  Piuknu  ia 
.WD  lis  Dkikndknliks.  Lond.,  Chapman 
\  Hall,  42s. 

The  third  boi'k  of  the  scries  described  above.  The 
subject  IS  so  miicli  less  interestinij  than  ihose  of  tlie 
first  two  books  that  eonipanson  is  unfair.  In  propor- 
tion It  isenually  valuable.  700 

HiSTOIKF.  DK  I.'.\KT  DANS  I.'.ANTIOI'ITE.  J|-DKK, 

S.vrd.mcne.  Svkik  El'  C.M'i'ADocE.  Paris, 
Hachcttf.  1SS7.  30  fr.  Transl.  as  IIisiokv 
111'  .Ancii.ni  -Aki'  in  Sai<dini.\,  Jid.ka, 
Syria,  .\nd  .Asi.v  .Minok.  Lond.,  Chapman 
cS:  Hall.  3ds. 

The  fourth  book  of  the  series  described  .ibove.  Th.it 
which  will  especially  e.xcite  interest  is  the  long  study  of 
the  ancient  architectural  Jerusalem,  with  the  brilliant 
and  su;,'t;estivc  restorations  by  Mr.  Chipiez  The  al- 
nvist  unknown  anti<|uiliesof  Sardinia,  and  the  mysteri- 
ous and  disputed  work  of  the  people  who  are  called 
Hittites  in  linfflish,  arc  also  considered.  700 

HlSIOIKK  DK.  I.'.AUT  DANS  I.' ANTIoriTE:  PlIRY- 

«;ik;  I.vdie  ki  Carik.  Lviie;  Pkrse.  Paris, 
llachctte,  iSijo,  30  fr.  Transl.  as  Histdry 
III'  .Ancikni'  .Arf  in  Piiry{;ia  ;  I.ydia  and 
C.VRIA — Lvi'l.v.  Liiiul.,  Chapman  iS:  Hall, 
i?s. 

The  study  of  ancient  Persian  art  h<is  been  followed 
up  bv  l'"reneh  arclueolof;ists  with  a  great  deal  of  zeal 
and  intelligence;  the  result  of  their  work  is  well  pre- 
sented here.  Mr.  Chipiez  has  furnished  most  suggestive 
plates  of  proposed  •'estoration  anil  the  views  of  existing 
monuments  in  their  present  condilion  are  admirable. 
Kacli  of  the  other  chapters  contains  much  of  special 
interest,  the  wonderful  I.ycian  monuments  being,  per- 
ha|is,  those  which  will  appeal  to  the  greatest  number 
of  readers. 

The  general  badness  of  the  translation  alluded  to  in 
the  remarks  on  the  volume  for  Kgypt  is  especially 
noticeable  in  the  case  of  the  present  work.  There  are 
many  cases  in  which  the  translator  states  exactly  the 
reverse  of  what  the  original  gives,  and  very  many  in 
which  the  sense  uf  the  original  is  modilied  in  a  ruinous 
way.  700 

HisToiRE  DE  I." .Art  dans  i.'Antk.h'itk  La 
Gr£('e  I'kimhive;  i.'Aki'  Myc^nien.  Paris, 
i  lachfltc,  i8()4,  30  fr. 

The  study  of  the  jiriinitive  and  in  a  sense  historic 
art  which  has  been  found  in  Greece,  but  is  only  in  a 
limited  sense  Greek,  is  so  recent  that  no  other  book 
can  be  named  which  is  wholly  devoted  to  it.  The 
phrase  Mycenjean  art  is  generally  used  for  the  portable 
objects  in  pottery  and  metal  which  have  excited  so 
miich  interest,  but  the  present  work  includes  also  an 
elaborate  study  of  the  prehistoric architectur'^of  Circece 
with  elaborate  studies  of  restoration  by  Mr.  Chipiez. 

700 

Petrie,  W.  M.  Flinders. 

Ten  Years  Diccini;  in  Ecypt,  i88i-iSf)i  , 
with  map  and  116  illustrations.  Lond., 
Rfliirious  Tract  Sue,  1892,  Os. 

Besides  its  value  as  a  partial  account  of  ancient 
Egyptian  Art,  this  book  gives  a  curious  insigh'  into 


the  experiences  of  an  explorer  of  ancient  sites,  who 
has  himself  added  much  to  our  knowledge  of  remote 
antiiiuity.  013.32 

Poole,  Stanley  Lane. 

Art    III'    THE    Sak.m'ens    in    F-cyit.      illus. 
I.iind..  Chapman  iS:  Hall,  i>.^''i,  4s. 

Most  works  on  the  arts  of  peoples  not  of  European 
traditions  are  extremely  superlicial,  eont.iining  only 
hasty  impressions  as  of  cme  newly  struck  by  the  novelty 
of  .in  art  which  he  has  begun  lo  examine  This  book 
IS  that  of  a  man  who  has  studied  his  siibiect  well  and 
gives  the  reader  what  small  part  of  his  abundant  knowl- 
edge the  pages  .illoweil  him  will  contain  Other  books 
exist  which  contain  manv  large  ,ind  faithful  illustrations, 
but  It  IS  difficult  to  name  one  of  tins  class  the  text  of 
winch  IS  so  thorough,  {onipare,  however,  fur  Moham- 
medan art,  the  two  books  by  A.  Gayet  700' 

C.MRo  Sketches  dk  lis  Histuky.  Mond- 
MKNi's,  A.VD  .Siici.M.  Like.     LoiuI..  ].  S.  \'ir- 

ttlC,    TS92,    I2S.   fill. 

.'\  study  of  a  city  and  its  neighborhood,  if  put  into 
such  form  that  hasty  travellers  may  be  persuaded  to 
buy  It  as  a  guide-book,  wil!  not  often  be  found  a  work 
of  much  thoroughness.  The  present  author's  profound 
mastery  ol  his  subject  has  enabled  him,  however,  to 
make  of  tins  book  an  excellent  introduction  to  the  study 
of  .Mohammedan  art  in  Kgypt  as  well  as  of  the  external 
aspect  of  the  country  and  the  manners  of  the  people. 

000 

Portfolio,  The. 

During  1804  and  "95  there  appe.ired  twelve  separ.ite 
books  in  each  year,  each  book  treating  a  dilTerent  sub- 
ject (7s  cents  each).  In  1896  the  number  of  voiuines 
was  reduced  to  six  for  the  year,  at  $1.25  each.  These 
monographs  are  not  all  artistic  in  subject,  and  some 
may  be  called  only  in  a  limited  sense  artistic.  The 
most  important  are  mentioned  separately  in  this  list,  as 
there  is  no  better  art  writing  in  English  to-day  than 
some  of  them  contain  ;  while  many  are  valuable  as  af- 
fording information  not  elsewhere  accessible.  The 
publishers  are  Seeley  &  Co.,  London;  the  Macmillan 
Co.,  New  York.  705. 

Proust,  Antonin. 

L'Art  FuANq-Ais.  Publication  ofliciellc  de  I;t 
Commission des  Heau.\-Aris.  Paris,  Paschct, 
jS<)o.  do  fr. 

A  book  of  180  quarto  pages,  divided  into  ten  separate 
chapters  by  difTerent  writi^rs  .  thus  .Andre  Michel  writes 
on  landscape,  Louis  Gonse  on  architecture.  There  is 
also  a  general  introduction  by  Paul  Mantz.  ny  way  of 
illustration  there  are  fifty  admirable  photogravures  be- 
sides etchings  and  wood-cuts.  There  is  perhaiis  no 
single  book  from  which  so  much  can  be  learned  con- 
cerning the  French  art  of  the  present  century  70O 

Ramsay,  William,  ntid  Lanciani,  Rodolfo. 

^L\Nt  .\i.  OK  Roman  Antii.iiities,  revised 
and  partly  rewritten  liy  Koihilfo  Lanciani. 
N.  Y.,  Scrilmer,  iSi)?.  !r'3. 

Mr.  Lanciani  is  intimately  connected  with  the  gov- 
ernment and  municipal  care  of  the  antuiuities  of  the 
city  of  Rome  and  of  Italy  in  general.  All  that  he  has 
added  to  this  book  is  very  valuable  and  contains  the 
latest  knowledge.  The  original  work  by  Mr.  Ramsay 
has  less  to  do  with  tine  art  ;  it  was  good  in  its  time, 
and  what  is  left  of  it  in  this  edition  may  be  .issumed 
to  have  been  proved  trustworthy.  See  Helbig  and 
Lanciani.  013 

Reinach,  Salomon. 

.ANrii.)fri'£s   nationai.es  ;    DEsrRirTKiN  rai- 

SDNNtE  DD  MISEI  DE  S  At  N  !-( JEi(M  Al  N-EN- 
LaVE.       HkON/ES  KICfKKS  DE    I..\  CjAII.E   RO- 

MAINE.  Avec  4  heliogravures  et  Ooodessins 
par  J.  Devillard  et  S.  Reinach.  Paris, 
Didoi,  1895,  10  fr. 

The  Museum  of  St.  Germain  is  devoted  to  the  earlier 
anti<juities  of  France,  Roman,  Gallo-Roman  and  early 
medixval  as  well  as  prehistoric.  The  author  of  this 
book  is  an  archaeologist  of  established  reputation. 

013 


la 


Fine  Art. 


li 


Hosenberg,  Adolph. 

Gksciiictk  iiKK  MoDKRNEN  KfNsr.     Leipzig. 
Fr.  VVilh.  Orunow,  iSSg,  3  v.,  42  marks. 

Volume  I.  is  devoted  to  the  history  of  French  art 
from  1789  to  the  date  of  publication,  1884  •,  the  other  two 
volumes  to  German  art  from  1795  to  the  date  of  publi- 
cation, 1889.  There  is  promised  .(  fourth  volume  which 
is  to  deal  with  the  art  of  Austria-Huntrary,  Switzerland, 
the  Netherlands,  the  Scandinavian  countries,  Rn^'land, 
Italy,  Spain,  and  Russia. 

There  are  no  illustrations  ;  the  book  is  in  octavo  form, 
handsomely  printed,  a  serious  effort  at  a  complete  his- 
tory of  the  fine  arts  <jf  a  whole  century,  sculpture  and 
architecture  receivinn  as  much  attention,  proportion- 
atelv,  as  the  more  popular  and  more  easily  described 
art  of  paintintf,  while  it  docs  not  appear  that  a  propor- 
tionate amount  of  attention  has  been  (liven  toencraviny 
and  other  arts  considered  less  dipnilied.  This  would 
lie  a  pood  book  for  some  American  house  to  publish  in 
English  with  abundant  photographic  illustrations. 

700 

Hossetti,  William  Michael. 

Fine  Art:  Chikfi.y  CoN^^■,^^'OKAK^■;  Notices 
reprinted  with  revisions. 

This  book,  dated  1867  (now  nut  of  print),  pivcs  an 
interesting  account  of  Hritish  and  foreign  art  as  it  ap- 
peared to  able  and  instructed  Englishmen  at  that  time. 
The  author  is  the  brother  of  the  painter  and  poet,  Dante 
Gabriel  Rossetti,  and,  though  not  an  artist  himself,  has 
lived  with  artists  and  has  thought  deeply  on  the  sub- 
ject of  art.  In  1867  he  was  about  thirty-eight  years  old, 
and  his  opinions  were  ii.atured.  He  had  been  a  mem- 
ber of  the  famous  Pre-Raphaelite  Hrotherhood  eigh- 
teen years  before  the  appearance  of  this  book.  One  of 
his  essays  is  a  review  of  Mr.  Palgravc's  book,  which 
see.  704 

Ruskin,  John. 

LK(11K|-.S   ()\    ARCIITTF.CTfRK    AND    P.MNTINC. 

With  15  illustrations  drawn  by  the  author. 
I.ond.,  Geo.  Allen,  7s.  6d.  Also,  with  [)ref- 
:ice  by  Prof.  Charles  Eliot  Norton.  N.  V., 
Maynard,  Merrill  «S:  Co.,  1?2.75. 

The  first  and  the  second  lecturcsare  a  plea  for  Gothic 
architecture  and  the  revival  of  that  style  in  modern 
times.  The  theory,  insisted  on  in  "  Stones  of  V'enice  " 
(see  Part  II.),  appears  here  again;  namely,  that  the 
sculptured  ornament  of  a  building  is  its  greatest  and 
only  important  feature,  artistically  considered.  The 
third  lecture  is  on  Turner,  the  landscape  painter,  the 
artist  to  whose  art  the  greater  part  of  "  Modern  Paint- 
ers "  (see  Part  II.)  is  devoted.  The  fourth  lecture  is  on 
the  subject  of  Pre-Raphaelitism.  704 

TiiK  Two  P.\iiis:  Lectures  on  applications  of 
art  t')  decoration  and  manufacture.  Lond.. 
Geo.  Allen,  5s.  Also,  with  preface  by  Prof. 
Charles  Eli<jt  Norton.  N.  Y.,  Mavnard, 
Merrill  &  Co.,  $1.50. 

First  published  in  1859.  The  first  edition  contains 
two  very  beautiful  prints  engraved  after  drawings  by 
the  author.  704 

Lecti'RKS  on  Art.  Delivered  at  Oxford, 
1S70.  Lond.,  Geo.  Allen,  5s.  Also,  with 
preface  bv  Prof.  Charles  Eliot  Norton. 
N.  Y.,  Maynard,  Merrill  &  Co.,  $1.50.    704 

Sayce,  A.  H. 

Article  H.\itvi.oNi.\,  Encyclopnedia  Hrilannica, 

(jth  ed. 

Although  much  has  been  learned  since  this  article 
was  written,  it  is  still  very  valuable. 

Echliemann.     .SVi'  Schuchhardt,  C. 

Schreiber,  Oustav  Theodor. 

An  AS  OF  Classical  Antk.hitiks.  Edited  by 
Prof.  W.  C.  F.  Anderson  :  with  preface  by 
Prof.  Percy  Gardner.  N.  Y.,  Macmillan, 
1S95,  $6.50. 

An  oblong  folio  containing  a  very  great  number  of 
outline  or  little  elaborated  figures  in  a  hundred  plates. 
In  the  original  German  form  this  book  was  of  singular 
value  ;  the  present  edition  has  the  text  wholly  reworked 
and  enlarged  by  excellent  English  archaeologists. 

912 


Schuchhardt,  O. 

Sciii.ikmann's  E.xc.WAiioNs:  an arch-t'oloiriral 
and  historical  study.  Illus.  N.  Y.,  Mac- 
millan, !S()I,  $4. 

A  compact  and  intelligible  account  of  Dr,  Schlie- 
mann's  excavations  at  the  supposed  site  of  Troy  at 
Tiryns  and  at  N'ycen.X',  as  well  as  at  some  less  im- 
portant sites.  It  IS  to  be  observed  that  not  Dr.  Schlic- 
mann's  theories  done,  but  the  matured  opinions  of 
many  scholars,  a-e  utilized  in  this  book.  The  intro- 
(luction  by  Dr.  Leaf  points  out  in  a  suggestive  manner 
the  varied  and  nimerous  unanswered  questions  which 
Schliemann's  discoveries  have  raised.  813.38 

Schultz,  Alwin. 

KlNsir.KsciilcillK.  Merlin,  G.  (irote,  iS()5-0. 
To  be  published  in  about  30  parts,  at  2 
marks  each. 

Of  this  work  the  present  writer  has  seen  only  three 
parts.  It  promises  to  be  somewhat  novel  in  its  |)oint 
of  view  and  treatment  of  subjects  ;  the  illustrations, 
which  are  to  be  very  numerous,  are  likely  to  be  drawn 
to  a  great  extent  from  unfamiliar  sources.  The  German 
is  simple  and  not  hard  to  understand.  700 

Seeley,  J.  R. 

Lkciirks  ,\ni)  rCss.ws.  Lond.,  M.umillaii. 
1S70,  los.  fxl.     Out  of  print. 

Sec  the  Essay  on  ".lementary  Principles  in  Art ;  a 
very  suggestive  and  a  \'ry  instructive  pa|ier,  teaching 
how  art  should  be  studied.  The  author  pretends  to  'in 
peculiar  knowledge  of  artists  and  their  ways,  but  has, 
by  clear  reasoning,  reached  very  truly  artistic  conc'u- 
sions.  825 

Selvatico,  Pietro. 

Lf.  Arii  dfl  DisKiiNii  in  Ii.\ll\.  P.irtc 
Prima;  L'Arte  Anlica.  Milan,  Vallardi, 
1.^79,  20  lire. 

This  volume  is  the  first  of  a  series  (see  under  St  - 
vatico  and  Chirtani  and  also  Paravicini).  709 

Selvatico,  P.,  >/;;>/  Chirtani,  L. 

Lk  .Arti  dfl  Diskijno  in  Iialia.     Parte  Se- 
conda.  Metiio  Evo.     Milan,  N'allardi,  3olire. 
This  volume  is  tlic  second  of  a  series  (see  under  Sel- 
vatico and  also  Paravicini).  700 

Seymour,  Thomas  D. 

HoMFRic  Aniuji  riiKs.  Illus.  N.  Y.,  Mac- 
millan.    Announced  without  date. 

Prof.  Seymour  is  connected  with  Vale  University, 
and  is  Chairman  if  the  Managing  Committee  of  the 
American  School  of  Classical  Studies  at  Athens. 

013.38 
Smith,  Major  R.  Murdoch. 

Persian  Aki.     Lond.,  Chapman  iV   Hall,  2s. 

One  of  the  South  Kensington  guide-books ;  a  little 
volume  of  only  60  pages.  It  contains  a  few  very  good 
illustrations  and  introduces  the  rcider  to  the  subject. 

700 
Stendhal,  De,  (Henri  Beyle.) 

Promenades  dans  Rome.  Paris,  Delaunay, 
1S29,  2  V.     ( )ut  of  print. 

The  few  works  of  this  early  epoch  which  are  marked 
by  a  true  insight  into  fine  art  are  well  worth  reading 
even  in  our  lime  of  greater  critical  knowledge.  They 
su^fgest  at  least  the  (juestions  which  were  then  seen  to 
exist,  and  which  can  never  be  answered  finally  or  to 
every  one's  satisfaction.  It  is  always  well  to  begin 
again  at  the  day  of  first  incjuiry  to  see  whether  our  re- 
cent studies  have  yet  answered  all  that  is  required  of 
them.  946.6 

Stirling-Maxwell,  Sir  William. 

Annals  of  the  Ariists  (jf  Spain.  Illus. 
Lond.,  John  C.  Nimmo,  1S91,  4  v.,  84s. 
\Vith  Cloister  Life  of  the  Einijeror  Charles 
\'.,  and  Miscellaneous  Essays  and  Address- 
es ;  in  all  6  v.,  N.  Y.,  Scril)ner,  $45. 

Spanish  art  is  very  little  known  in  Europe ;  this  is 
the  only  English  book,  at  all  adequate,  devoted  to  the 


Fine  Art. 


IS 


I  Kins:  an  archrroloKiral 
Illus.      N.   Y.,  Mac- 

iblc  account  of  Dr.  Schlic- 
:  supuDsod  sito  of  Troy  nt 
s  wi'll  as  at  some  less  im- 
bsi-rvcd  that  not  Or.  Schlic- 
it  ttiu  matured  opinions  of 
d  in  this  bool<.  The  intro- 
i  out  in  a  suj,'K<-'stive  manner 
iiianswered  <iucstiuns  which 
uvc  raised.  913.38 


Icrlin,  ("i.  Cirote,  iS()5-(). 
1    iibiiut    31)   parts,  at   2 

t  writer  has  seen  only  three 
somewhat  novel  in  its  point 
f  subjects;  the  illustrations, 
rous,  are  likely  to  be  drawn 
iiiliar  sources.  The  German 
nderstand.  700 


l.oiiil.,    Macmillai>. 
f  print. 

lentary  Principles  in  Art ;  a 
y  instructive  paper,  teachiiiK 
The  author  pretends  to  no 
ists  and  their  ways,  but  has, 
;d  very  truly  artistic  conc'u- 
^  825 


NO    IN     IiAi.i.\.       Parte 
tica.       Milan,    X'allarcii, 

>t  of  a  series  (see  under  Sc'- 
so  Paravicini).  708 

tani,  L. 

I)  IN   Ii.M.i.A.      Parte  Se- 
Milan,  N'allardi,  30  lire. 

nd  of  a  series  (see  under  Sel- 
).  700 


s.  Illus.  N.  Y.,  Mac- 
1  willioiil  (laic. 

lected  with  Yale  I'niversily, 
Manajjinfi  Committee  of  the 
ical  Studies  ut  Athens. 

913.38 

och. 

.,  Chapman  it   Hall,  2S. 

isinfjton  ),'uide-books;  a  little 
It  contains  a  few  very  (jood 
;s  the  reader  to  the  subject. 
700 


Paris,  Delaunay, 


Jeyle.) 

(IMF,. 

print. 

^arly  epoch  which  are  marked 
e  art  are  well  worth  reading; 
er  critical  knowledge.  They 
ions  which  were  then  seen  ti) 
'er  be  answered  finally  or  to 
It  is  always  well  to  begin 
nciuiry  to  see  whether  our  re- 
iwcreu  all  that  is  required  of 
945.6 


William. 

iisT.s  oi'  Spain. 
limmo,    iS()i,   4 


Illus. 

v.,  84s. 
of  the  Emijcror  Charles 
:jus  Kssays  and  Address- 
Y.,  Scribner,  $45. 

lie  known  in  Europe ;  this  is 
tall  adequate,  devoted  to  the 


subject.  The  first  edition  was  published  in  1848,  and 
the  first  edition  of  Velasquez  and  his  Works  by  the 
same  author  was  published  in  1855;  the  present  work 
is  an  enlarged  edition  containing  both  works  much  re- 
vised and  with  many  parts  rewritten.  A  very  interest- 
ing book  to  read  as  well  as  very  valuable  (or  reference. 

700 


Story,  William  Wetmore. 

RoH.^  Ill  RoM.^.     New  cd. 


Host.,  Houghton, 


2  v.,  t2.5<). 

This  book,  of  which  the  title  signific'-  Roman  thinRS, 
or  Roman  goods,  is  only  in  part  devoted  to  artistic 
matters.  It  is  capable,  however,  of  giving  a  very 
strongand  intimate  feelingof  the  beauty  of  the  ancient 
city  as  it  was  before  its  recent  regretable  transforma- 
tion, and  also  of  the  ruins  themselves,  which  of  late 
years  have  been  made  more  accessible  apd  have  been 
more  thoroughly  studied  than  ever  before.  Theltalian 
sense  of  the  meaning  of  Italian  .irt,  the  importance  of 
which  has  been  insisted  on  mother  places  (see  Selvatico 
and  Cavallucci)  is  also  to  be  found  in  this  book,  and  it 
is  not  to  be  forgotten  that  it  is  the  work  of  a  sculptor  of 
ability  and  lung  experience.  945.6 

Cxsri.K  Sr.  An<;ki.o  and  Tiik  Evii.  Evk,  he- 
inj,'  additional  chapters  to  Roha  di  Roma. 
Lond.,  Chapman  iS:  Hall,  1S77,  los.  6(1. 

Five  .tdditional  chapters  which  might  with  perfect 
propriety  be  bound  in  with  the  work  entitled  "  Kobadi 
Roma."  The  Castle  is  the  mausoleum  of  the  Emperor 
Hadrian,  built  by  him  to  receive  the  urns  of  his  succes- 
sors, together  with  his  own,  as  the  great  mausoleum  of 
Augustus  was  considered  to  be  fully  occupied.  During 
the  Middle  Ages  its  immense  solid  mass  of  masonry 
made  it  valuable  as  a  fortress,  and  it  was  built  upon 
with  two  or  three  stories  of  small  rooms,  which  served 
as  a  refupe  for  the  Pope  in  times  of  danger.  The  rec- 
ord of  this  building,  which  fills  150  pages  of  the  present 
volume,  is  an  interesting  piece  of  architectural  history. 

945.6 

Conversations  in  a  Sti'dio.  H(jst.,  Hough- 
ton, iS(j4,  2  v.,  ?2.5o. 

These  conversations  deal  with  literature  and  sociol- 
ogy and  many  topics,  but  also  with  the  tine  arts  as 
they  are  looked  at  by  an  artist.  Compare  what  is  said 
about  Hamerton's  Intellectual  Life.  In  like  manner 
the  book  before  us  is  worthy  of  study  for  the  treatment 
of  the  tine  arts  as  formintj  a  part  of  the  whole  world  of 
thought,  a  tre.itment  which  it  is  almost  impossible  to 
get  e.\cept  from  an  artist  who  is  also  a  man  of  cultiva- 
tion. 704 

ExcrusinNs  IN  Art  and  Lkttkrs.  Host., 
Houghton,  iS(ji,  81.25. 

Mr.  Story  was  an  accomplished  sculptor  and  a  prac- 
tised and  gmceful  writer-  a  rare  combination.  Three 
of  the  five  papers  in  this  volume  are  of  use  to  the  stu- 
dent of  art.  The  paper  on  Michelangelo  contains  ex- 
cellent criticism,  and  that  on  Phidias isfuU  of  suggestive 
analysis  of  the  art  of  sculpture.  812 

Sturgis,  Russell. 

Article  Fink  Arts,  Johnson's  Universal 
Cvclop.xdia,  ed.  <.>{   lS()3-5. 

Article  Rf.ai.ism  in  Einf,  Art,  Johnson's 
Universal  Cyclopitdia.  See  als(j  in  the 
same  work.  Articles  "Painting,"  "Sculpt- 
ure," and  others  on  special  topics.  In 
Parts  II.,  III.,  IV.  of  this  list. 

Japanksk  Ari',  Johnson's  Universal  Cyclo- 
p;pdia,  ed.  of   lS(;3-5. 

Symonds,  John  Addington. 

Rknaissancf.  in  Itai.v.  N.  Y.,  Holt,  7  v., 
S14.  SiKJRi'  History  of  tiik  Rknaissancf. 
IN  1  lAi.v,  selected  by  Alfred  Pearson.  N. 
Y.,  Scribner,  1?3.75. 

Wiihout  showing  any  profound  sense  of  the  inner 
spirit  of  fine  art,  this  work  is  a  valuable  history  of  that 
Eide  of  the  Renaissance  which  showed  itself  in  painting 
and  sculpture.  The  treatment  of  architecture  is  brief 
and  unsatisfactory.  However  inadequate,  this  remains 
the  best  history  in  English  of  the  artistic  renaissance 
in  Italy;  its  value  is  increased  for  the  general  student 
by  the  treatment  of  fine  art  as  ot.e  01;  the  many  mani- 
festations of  the  Renaissance.  945 


1-IFK  OK   MirilF.I.ANr.F.I.O    HlONAKOI  II.       IIIUR. 

Lond.,  John  C.  Nimmo,  iS(j3,  2  v.,  21s. 
N.  Y.,  Scribner,  S7.50. 

The  latest  of  the  many  lives  of  this  great  artist,  and 
probably  the  best,  containing  what  seems  most  neces- 
sary in  the  other  books  on  the  man  and  his  time  and 
much  additional  information.  There  are  valuable 
plates.  920 

Taine,  Hlppolyte  Adolphe.     I.a  Piiir.osnnnE 
DK  i.'Akt;  i.a  Piiii..  i>f.  i.'Art  kn  Itai.ik; 

1.A    Pllll,.    DK    I.'ARI     dans    IKS    PAVS    Has; 

L'iDfeAL  dans  i.'Aur;  and  oiiikr  essays. 
Transl.  by  John  Uurand  as 

Lectures  ON  Art.  ist  Series:  Tiik  Pimi.os- 
oiMiv  OF  Art  ;  Tiik  Idkai.  in  Ari.  N.  Y., 
Holt,  82.50.     2(1  Series,  Tiik  Piiii.osoi'iiy 

OF  ARI'  in  IiAI.Y,  niK  NKriIKRI,.VNUS,  AND 
CiRKKCK.       N.  Y.,   Holt,  ?2.5(). 

These  books  have  attracted  much  attention  because 
of  the  literary  reputation  of  their  author,  and  t)ecau9? 
of  the  simplicity  of  his  theories  and  the  ease  with  which 
they  can  be  grasped  and  remembered.  The  difficulty 
with  such  criticism  is  that  any  simple  theory  about  a 
work  of  art,  its  nature,  its  relation  to  other  works  of 
art,  and  its  place  in  the  general  world  of  art,  is  gen- 
erally a  false,  or  at  least  an  inade(|uate  theory.  If  a 
reader  is  thoroughly  familiar  with  any  group  of  works 
of  tine  art,  or  any  c-jioch  or  style  of  art,  lie  will  find  Mr. 
Taine's  criticism  01  the  works  or  the  epoch  in  question 
very  feeble  indeed.  It  is  clear  in  such  a  case  that  the 
soul  of  a  work  of  art  and  its  real  nature  as  its  author 
conceived  it,  and  as  his  compeers  undeistand  it,  are 
misunderstood  by  this  writer.  701 

Tarbell,  F.  B. 

History  of  Grekk  Art.  With  introductory 
chapter  on  Art  in  Egypt  and  -Mesopotamia. 
Illus.     Meadville,  Pa.,  Flood  c%  Vincent,  $1. 

709 
Tsountas,  Orestos. 

Tiik  Myckn.kan  Aok.  Transl.  from  the 
(ireek,  edited  and  enlarged  by  Prof.  J. 
Irving  Manatt  and  Dr.  Harker  Newhall. 
With  about  i(3(i  illustrations.  Host.,  Hough- 
t(jn.   Announced  for  early  in  i8(}7,  $0. 

Dr.  Tsountas's  original  work  is  a  recognized  au- 
thority. In  its  English  dress  it  will  be  as  complete  a 
treatise  as  is  now  possible  on  that  strange  type  of  early 
art  which,  while  its  chief  remains  have  been  found  in 
Greece,  h  not  Greek  in  the  usual  sense— not  even  Greek 
of  an  archaic  period.  It  appears  that  the  book  will  con- 
tain restorations  of  the  ancient  houses  whose  remains 
have  been  discovered  and  their  elaborate  colored  dec- 
oration. 913.38 

Vasari,  Oeorgio. 

Le   ViTE   DE   PiI^   EcrF.I.I.KNTI  PlTTORI,  SCUL- 

roRi  ED  Arciiitkitori.  Transl.  by  Mrs. 
Jonathan  Foster  as  Lives  of  the  Most 
Emink.nt  Painters,  Scii.itors,  and  Archi- 
TKCI'S,  with  Notes  and  Illustrations,  etc. 
(H(3hn.)     N.  Y'.,  Macmillan,  0  v.,  ?i  each. 

These  biographies  by  Vasari  arc  the  .froundwork  of 
our  knowledge  of  the  great  Italian  artists  of  the  XV 
and  XVI.  centuries.  Their  extraordinary  fame  as  com- 
pared with  the  popular  appreciation  of  Spanish,  Flem- 
ish, or  Dutch  artists  is  in  great  part  due  to  this  book. 
It  is  extremely  interesting,  full  of  anecdote  and  pictu- 
resque narrative,  and  gives  brilliant  pictures  of  life  in 
Italy  during  the  epoch.  The  author's  statements  of 
fact  have  often  been  found  erroneous,  and  are  fre- 
quently corrected  in  the  notes  to  this  translation.  This 
translation  is  excellent,  as  is  sufiliciently  proved  by  its 
adoption  for  the  important  work  of  Ulashfit.'d  and  Hop- 
kins.   (Sec  next  following  item.)  927 

Lives  of  the  Painters  ;  edited  and  anno- 
tated by  E.  H.  and  E.  W.  Hlashfield  and 
A.  A.  Hopkins,  with  48  photogravure  re- 
productions of  masterpieces  of  Italian  paint- 
ing and  sculpture.  N.  Y.,  Scribner,  i8()7, 
4  v.,  $15. 
Sixty  of  the  more  important  lives  in  the  Vasari  col- 


u 


Fine  Art. 


I  til  |! 


•'II  u 


lection,  lakcn  from  Mm.  Foster's  transLilion  (see  itie 

^)rt'Vl(>lls  lilk).  anil  ■iccumpanicd  by  very  lull  miti-s. 
>()!h  histnnc.il  and  critic.il.  \  careful  c.x.iiniii.ition  lias 
salislii'd  the  writer  lli.il  no  mdrc  iinpurtanl  lonirihiiliun 
til  art  history  li.is  hcen  offered  lor  many  ye.irs  Tlie 
thoroujrhness  'il  the  rese.irch  into  the  doeiiinents  .iiid 
the  clearness  of  the  eliicKlalion  ol  ihedillicult  historical 
and  hio){ra|>hii  a!  points  are  only  e(|Ualled  by  the  inlelli- 
jjencc  with  winch  the  ditficiilt  (|uestions  are  designed 
ind  selected  lor  .itlentioii.  Tlie  art  :rilHism  is  ol  .in 
unusu.dly  hiyli  i|uality.  such  a  body  ol  criticism  .is  is 
(jiven  here  forms  a  very  important  adiunct  to  all  hooks 
of  biography,  including  the  iinjiort.ini  liioi,'raphic.il 
dictionaries  which  arc  apt  to  fall  in  this  rc!>pcct. 

027 
Viollet-le-Duc,  E.  E. 

L'AkI'  RlsSK,  SKS  iiRir.TNF.S,  SKS  £l.l^:MKNTS 
CDNSin  11  IKS.      SON     AI'iuiKK.     SON     AVK.NIK, 

Paris    Miirel  I't  Cic,  1S77   2?  fr. 

For  Russian  art,  compare  also  book  cited  under 
Maskell.  The  work  now  under  consideration  is  .in 
attempt  at  a  very  lhoroui;h  and  critical  analysis  of  this 
art,  peculi.ir  attention  heinfftfiven  to  those  processes  of 
budding  which  effect  a  decorative  result,  especially  the 
strange  and  effective  cupolas  which  take  their  typical 
construction  from  the  FJyzantine  art  ol  the  VI.  cen- 
tury. That  art  found  a  development  .imonu  the  Mos- 
lems and  another  amonu  the  (ireek  Christians  ol  the 
North,  and  these  two  evolutions  of  the  Hyzantine  type 
show  singular  rcbcmblanccs  and  must  interesting  diver- 
Kcnccs.  709 

Waldstein,  Charles. 

TiiK  SiT'DV  i)K  Art  in  U.mvkkshiks,  N.  Y.. 
Harper,  1S95.  Si. 25. 

A  lecture  conccrninff  the  teachinc  of  art  as  .1  subicct 
of  general  knowled^re  :  that  is  to  say.  of  the  theory,  his- 
tory, and  criticism  of  art,  A  theory  broached  hy  the 
author,  that  artists  should  strive  for  university  education 
in  the  ordinary  sense,  is  certainly  the  reverse  ol  the 
truth;  the  contrary  proposition,  that  artists  should  beifin 
the  specialized  study  of  their  art  \  cry  early,  cuuld  be 
maintained.    See  iXation,  Nov.  28,  1895,  p.  388. 

704 

The  Work  of  John-  Ri-skin  :  Irs  iNKi.iKNn--. 

I'l'ON  MoDKRN  TlKILGIfr  A.ND  LiKK.      N.   Y., 

Harper,  1S93.  81. 

The  writinKS  of  Mr  Ruskin  on  the  fine  arts  are 
spoken  of  under  his  name.  The  present  book  in  its 
tirst.  chapter,  Ruskin  as  a  Writer  on  Art,  gives,  perhaps, 
the  best  criticism  of  the  subject  that  exists.  Compare 
the  book  cited  under  Cook.  704 

Waring,  John  Burley. 

St».nk  Mo.NfMKNis,  TrMfi.i,  AND  Ornamf.nts 
OK  Rkmoik  Aoks.  wnic  Rkmakks  on  tiif. 
Early  Arciiukctirk  of  Irf.i.and  and 
Scotland.  Lund.,  John  H.  Day,  1S70. 
Out  of  print. 

Contains  a  Kfcat  number  of  trustworthy  drawings 
and  a  useful  text.  I'erhaps  the  best  book  for  the  study 
of  prehistoric  and  undated  buildings,  013 

Watts,  Theodore. 

Article  "  PoKTRY,"  Encyclopxdia  Hritannica, 
9th  ed. 

Should  be  read  for  the  comparison  of  different  Fine 
Arts,  as  poetry  with  painting  and  sculpture,  and  for 
the  remarks  upon  thoughts  expressible  in  painting  and 
sculpture  though  not  in  words. 

White,  John  Williama. 

Greek  Frivatf;  Life.  Illus.  N.  Y.  Mac- 
millan.     Announced  without  date. 

The  author  was  Chairman  of  the  Managing  Commit- 
tee of  the  American  School  of  Classical  Studies  at 
Athens,  and  is  Professor  of  Greek  in  Harvard  L'niver- 
sity.  013.38 

Wilson,  Charles  Heath. 

Life  and  Works  ok  Michael  Angelo  Bi'o- 

NAROTTI.    2ded.    Lond.,  John  Murray,  1881, 

15s. 

•Mr.  Wilson  had  the  rare  good  fortune  to  gam  access 
to  the  scaffolding  erected  close  under  the  vault  of  the 


Sistine  Chapel .  he  Ihrnce  analyzed  the  procrsics  used 
bv  Michelangelo  m  ihe  litscoes  there  which  lonsli 
lute,  perhaps,  ihe  most  imjHirlani  inonuineni  ol  ihe 
painter  s  art  m  Kiirope  Tins  wmilil  be  a  useful  life  nl 
the  .irtist  even  without  the  valuable  facts  alluded  in 
above.  020 


OLOSSARIBS  AND   DICTIONARIES. 

(.SVf  AV-Ci-  ,!/•  Jli;,,/  0/  /Vi>7  /.) 

Adeline,  Jules. 

Lk.mi.xe  dis  Tkkmfs  D'Ari-.  (H.I:,H.A.\ 
Paris,  (.jiiaiuin.  ?  fr.  I'r.insj,  .is  .Art  Dk  - 
'riiiN,\RY.  .Autiinrized  .inil  enl.  ed.  N'.  V.. 
Appietiiti,  i.>oi.  $2.25, 

So  small  a  hook  can  only  give  a  few  of  the  terms 
used  in  ,irt ;  moreover,  the  translation  ol  .1  iliclion,iry 
IS  peculiarly  difficult,  heciuse  ol  ilie  rearninueinent 
necessary  Some  terms  are  used  in  very  different 
senses  in  France  and  in  .^meric.i,  .is  Verandah  ,  and 
these  differences  arc  nut  always  marked  in  this  transla- 
lion.  703 

Bryan,  Michael. 

DlcriiiNARY    <'l'     IVSTNTEUS    AND     Enc.RAVERS. 

New    edition,    edited    liy    R.     E.    (jraves. 
N.  Y.,  MacniiJlan.  iS.Sfi,  2  v..  822.50. 

This  book,  in  two  large  volumes,  is  more  costly 
than  most  of  the  books  in  this  lisl,  bui  it  is  the  smallest 
one  in  Knglish  th.i'  can  be  recommended  There  ,ire 
strange  omissions  from  it,  but  on  the  whole  it  is  trust 
worthy  Of  course,  one  does  not  look  to  such  a  book 
for  very  critical  appreciation  of  works  of  art  750 

Clement,  Clara  Erskine,  ii //^/Hutton,  Laurence. 

ArIISIS   of    tiif    NlNKlKKNllI    CeNTIRY    AN1> 

TiM-.iR  Works,     Most.,  Houghton,  83.  "i 

A  useful  book,  revised  in  the  latest  cditicm  10  1884,  'S 

and  giving  brief  biographies  of  artists,  with  mention  of  S 

their  worlis.     Its  .space  is  used  up  ijy  a  great  many  -4 

vague  and  insignihcanl  critical  notices,    the  preface  % 

says  that  the  "avcr.nge  opinion  "  has  been  sougtit  lor,  w 

but  It  IS  clear  that  that  can  never  be  found      Tenor  • 

twenty  lines  of  "an  average  opinion  "  on  any  artist  arc  ' 

absolutely  useless.      If  one  man   had   written  all   the  .  ;■ 
notices  It  would  at  least  be  possible  to  get  a  comparative 
notion,  but,  as  it  is,  neither  positive  nor  comparative 
informatiun  IS  given.                                                    027 

Harper's   Dictionary  of  Classical   Literature 
and  Antiquities. 

Edited  by  Harry  Thurston  Peck,  .M..\., 
Ph.D..  Professor  of  the  Latin  L;ini;uaKe 
;ind  Literature  in  Columbia  I'liiversity. 
New  York.  With  the  co-operation  of  many 
Special  Contributors;  with  nearly  I5(xj  Il- 
lustrations. Maps,  ai;d  Diagrams.  X.  Y., 
Harper,  §6. 

This  book,  which  is  announced  ns  published  at  the 
close  of  November,  i8g6,  contains  biography,  geogra- 
phy, (ireck  and  Roman  Antiquities,  etc.,  and  will, 
necessarily,  be  very  brief  in  its  treatment  of  all  these 
subjects.  It  may  be  expected  to  be  trustworthy  and 
useful.    The  list  of  Special  Contributors  is  excellent. 

James,  Ralph  N. 

P.MNiKRs  AND  TiiFiR  WoRKs  a  Dictionary  of 
Great  Artists  who  are  not  now  alive  ;  giv- 
ing their  names,  lives,  and  the  prices  |)aid 
for  their  works  at  auctions.  L<jnd.,  L.  L'p- 
cott  Gill,  small  8vo,  6t2  p.  N.  Y.,  Scribner, 
1896,  3  v..  Si 5. 

Announced  to  be  in  three  volumes.  This  is  a  per- 
haps needed  addition  to  the  too  small  number  of  such 
books  in  English.  It  must  be  observed  that  it  does  not 
replace  books  like  Bryan,  because  excluding  Hollar, 
Pierre  Drevet,  and  Gi'rard  Edelinck ;  nor  books  like 
Seubert,  because  excluding  sculptors,  engravers,  archi- 
tects, and  living  artists.  It  IS  hard  to  explain  the  omis- 
sion of  Couture,  Diaz,  and  Galland.  On  the  other  ; 
hand,  some  artists  little  known  in  England  are  treated  r 
fully  and  in  an  open-minded  way.                          750 


■/ 

MU 

ii 

\ 

<i\\ 

IS 

lis 

8eu 

A 

> 
> 

\vl 

tic. 
an  ) 
ciei 

lllU! 


raintinj;  and  Sculpture 


»S 


inalyicd  itio  prnccsMs  used 

;stnts  tlurtv    vvhltll   lolisll 

inipri.iiii  inniuiim'tu  ol  llic 
.1-  wciiilil  t)t'  A  usflul  life  111 
:  valuable  (acts  alluded  i<> 
^  020 


DIOTIONARIES. 

ad  of  /'.ft  /.) 


daki.    (H.i;.n.A.\ 

Tr.msl.  .IS  Aki    Dk  - 
•d  .ukI  cnl.  cil.     N.  Y.. 

5- 

ily  civc  .1  few  of  the  icrin* 
translation  o(  a  dation.iry 
uso  ol  the  rfarranucniLMit 
re  used   in   vc-ry  {llfTcrcnt 

Uncrica,  .is  V't-randali ,  and 

ways  marked  in  this  irunsia 
70» 


MUUer,  H.  A. 

niii(;KAI'lllsCIIi;s  KrNSTI.I.N-I,r.\IKn\  |iKU  Ok- 

<;i'.NWAKi      l.c'i|)/iK   Hililliinr   Institul   iSisa 

^1  marks 

A  sm.ili  book  conlainini;  ihc  lives  ol  paintors  o(  our 
own  limu,  marked  liy  a  very  lusl  lone  iif  iritic  isin  It 
IS  very  desirable  llial  U  sliuuld  be  translated  iiitu  I'.nu 
hsh  750 

Seubert,  Adolph. 

Ai,i.i;i,Mi-iM.s  KCnsii  r.K-I,i-.xiK<)V,  orU'R  I.i;- 

IIKN  UNIi  U'l'kKK  IiI;K  1)I;k(  IIM  IKS  I  kn  Mii.- 
DKKN  hkk  K(  nsii.kk.  Frankfurt  .i/.M.. 
RUttcii  K.  LociiiiiK,  I"'>'i2,  3  v.,  2u  marks. 

Probably  the  most  valuable  dietionary  of  .irtists 
wliicli  exists,  as  the  work  of  Nailer  is  full  of  errors  and 
anlii|ii.iled  as  well  as  r.ire  and  costly,  while  the  ureal 
work  which  is  to  suiiersede  it  comes  out  very  slowly. 
Seubert  should  be  translated  into  English  with  some 
inodllicalioiis.  750 

Seyffert,  Oskar. 

UlCTMNAKV    'IK   Cl.ASSlCAI.    AnTKJI'ITIKS,   Mv- 


I  llol.fXiV.  RKI.KWON  1.1 1  KKA  I  IKK,  AMi  ART. 
I"riini  the  derm. in.  Keviseil  .mil  filii"il 
witli  .iilditiiitis  hv  llt'nrv  Ni'ii!islii|).  .\I..\. 
.mil  J  K.  Sanilys  llliis.  N.  V.,  .\latmil- 
Ian.  Ij'v 

A  smaller  .mil  less  expensive  bciok  than  theonecata 
loRucd  under  Siiiilh  013 

Smith,  Sir  William,  Wayte,  William,  .m,/  Ma- 
rindin,  O.  E. 


DlCJID.NAKY  iiK   ("iRKKK  AM 
IlKS       31I   Cll.      Luiul.,    Ji 


)    Ri'MAN   ANIH.iII- 

liin   .Murray.  1S91. 


3  v.,  fijs. 

I'ractically  the  only  hook  of  the  kind  accew.ihlp  to 
Rludents,  and  in  spite  of  errors,  omissions,  anil  inexcu 
sable  inisintcriiretatioiis,  it  can  be  used  with  t;eneral 
tonrhlrncc  That  i^^  to  say,  the  proportion  ot  error  to 
hound  ,ind  intelliucnt  explanation  is  very  small  The 
ideal  dictionary  ol  classical  antii|uilies  seems  to  be  diffi- 
cult lo  obtain  :  even  the  ({reat  French  work  now  slowly 
cominu  out  in  (larts  will  be  extremely  diHicult  to  con- 
sult, as  It  is  divided  into  compar.itively  few  lonk;  essays, 
and  has  nu  minutely  divided  alphabetical  system.    013 


IT. us  AM)  F'.m;kavkrs. 
il  by  K.  E.  (Jravcs. 
S.Sf),  2  v..  ?22,5o. 
U'e  volumes,  is  more  costly 
his  list,  but  It  IS  the  smallest 
L>  recommended  There  .ire 
but  on  the  whole  it  is  trust 
oes  not  look  to  such  a  book 
jn  of  works  of  art  750 

,(?;/(/ Button,  Laurence. 

-■.TKKMii  Cknury  anu 
St.,  lloUKhion.  ?3- 
m  the  latest  edition  to  1884, 
lesof  artists,  with  mention  of 
s  used  up  by  a  creat  many 
■ritical  notices;  the  preface 
linion  "  has  been  souttht  lor, 
an  never  be  found  Ten  or 
ue  opinion  "  on  any  artist  are 
ne  man  had  written  all  the 
possible  to  yet  a  comparative 
ler  positive  nor  comparative 
'  027 

3f  Classical   Literature 

riuirston  I'cck,  M..\., 
iif  the  Latin  Lannuanc 
Columbia  Tnivcrsity, 
he  co-iipcratiuti  cif  many 
rs  ;  with  nearly  i^ikj  II- 
anil  Uiagrams.     N,  Y,, 

nnounccd  .is  published  at  the 

contains  biof^raphy,  neo«ra- 

Antiquities,   etc.,   and    will, 

in  Its  treatment  of  all  these 

iccted  to  be  trustworthy  and 

;al  Contributors  is  excellent. 


[  Works  a  Dictionary  of 
are  not  now  alive  ;  n'w- 
ives,  and  the  prices  jjaid 
auctions.  Lond.,  I..  L'p- 
I,  612  p.     N'.  Y.,  Scribner, 

ihree  volumes.  This  Is  a  per- 
the  too  small  number  of  such 
ist  be  observed  that  it  does  not 
,n,  because  excluding  Hollar, 
ard  Edelinck ;  nor  books  like 
ing  sculptors,  engravers,  archi- 
ll is  hard  to  explain  the  omis- 
and  Galland.  On  the  other 
known  in  England  are  treated 
ided  way.  750 


TART   II 
PAINTING   AKD   SCULPTLRK. 


I'RKf.IMIN.VKV    NOIK   ON    I'AINllNti. 

Most  \vriiin,i;  about  the  art  of  paintint;  has 
been  by  persons  not  very  conversant  with  the 
actual  practice  of  the  art.  This  is  true  of  all 
the  fine  arts  ;  but  it  is  esi)ecially  true  of  painl- 
Intj  because  this  art  is  more  popular  th.in 
others,  .md  also  because  jiersons  who  expect 
to  ("mil  liter.iry,  narrative,  nxiral,  or  reliKioi's 
sentiment  in  fine  art  are  naturally  led  to  look 
lor  it  most  in  iiaintiiiK-  The  student  should  be 
on  his  t;uard  an.iinst  the  discussion  of  this  art 
as  if  il  were  closely  .ikiii  to  writing  in  jirose  or 
verse.  Paintini;  has  its  own  lanijua^e  and  its 
own  set  of  ideas,  which  are  sullicienl  for  it. 
See  /'rr/,i/t"-_y  .Vo/,: 

riU-.I.IMIN.\RV    NiiTK    ON    SCn.I'l  CUK. 

Very  little  has  been  published,  in  I^ntjlish. 
on  the  art  of  sculi)ture,  except  in  the  form  of 


treatises  on  Classical  Arch.ToloKy.  It  is  to  lie 
noted,  however,  that  much  of  that  avowedly 
arch.Tological  writing  is  just  and  discriminat- 
ing in  its  dealint;  with  sculpture.  The  art  of 
sculpture  is  far  less  niisleadinj;  to  those  who 
have  not  especially  stiiilied  it  than  painting  is;  it 
is  much  less  complicated,  it  is  much  mure  direct 
and  sim|)le  in  its  ajjpeal  to  the  sense  of  beauty, 
and  in  its  association  with  nature.  Moreover, 
it  does  not  appeal  so  strongly  as  ])ainting  to 
the  iiopular  love  of  anecdote  and  incident  in 
art.  Those  who  wish  to  see  stories  of  bat- 
tle and  adventure,  or  of  domestic  sentiment 
and  ])athos,  will  generally  choose  a  collection 
of  |)ictures  rather  than  a  sculpture  gallery. 
Therefore  the  common  writing  about  fine  art, 
looked  at  from  a  literary  standpoint,  is  far  less 
harmful  in  the  case  of  sculpture  than  in  ])aiiit- 
ing. 


Alexandre,  Arsene. 

A.   L.    Hakvk.     (L.A.C.)     Paris.  Librairie  de 

I'Art,  iS.-ii),  7  fr. 

Harye  is  the  well-known  sculptor  of  wild  and  domes- 
tic .inimals.  The  present  biography  is  far  from  bein|; 
an  ideal  critical  work,  but  it  may  oe  accepted  as  a  sufii- 
cient  description  of  Barye's  life  and  sculpture.  Many 
illustrations.  730 

KCOI.K  Fl.AMAXnE  FT  Hoi.I.ANDAISK.      Histoire 
populaire  de  la  Peinture,  avec  25ogravures. 
Paris,  Laurens,  1895,  10  fr. 
This  author  is  a  bookmaker    in  the  department  of 
fine  art,  and  produces  a  great  many  large  illustrated 
works.    They  have  the  fault  of  being  somewhat  popu- 
lar in  style  and  of  being  verbose ;  that  is  to  say,  the 
fault  of  containing  too  much  writing  about  a  subject 
and  of  lacking  precision.    They  are  written,  however, 
with  an  extensive,  if  not  always  profound,  knowledge 


of  the  subject  in  hand  They  arc  always  abundantly 
illustrated,  and  serve  an  cxcellein  purpose  either  alone 
or  in  connection  with  more  critical  works  which  they 
supplement  and  assist.  750.0 

Frkmii  Postkrs  .vM)  Mook-Covkrs.  In  The 
.Modern  Poster.  N.  Y.,  Scribner,  iSi}:;. 
The  singular  branch  of  the  painting  art  which  the 
collectors  of  "posters"  are  doing  so  much  to  encour- 
age received  its  largest  development  in  Hans,  though, 
perhaps  not  originating  there.  Paper  book-covers  dec- 
orated with  designs  in  color  are,  of  course,  more  at 
home  in  Franc;;,  where  al'  books,  except  a  few  Christ- 
mas gift-books  and  the  like,  are  sold  unbound.  This 
article  shows  the  close  relation  existing  between  the 
decorated  book-cover  and  the  poster  in  its  ordinary 
sense     The  illustrations  are  excellent.  740 

HisrolKK   Poi'fl.AIRK  DK  I.A  PKINTfRK'    Kl'iiLK 

Frantaisk.     Paris,  Henri  Laurens,  14  fr. 
Note  what  is  said  above  under  this  author's  "  ^cole 


i6 


Painting  and  Sculpture. 


Flamnnilc."  Thin  voliimr  innt.iiriH  .i  Kriat  miinb<r  nf 
WiHHi-ciitH  valuiililr  IIS  ri'iiri'snilini;  imiiiIihuh  wliiili  an- 
cili'il  ill  till-  hisliprn'H,  yrt  arr  imt  ulliMi  Hcrn  rnur.ivrd. 
Thit  ap|>lirs  cspri  i.ilfv  to  the  viTy  rcti'iil  wurks,  c  t 
wliicli  (livrc  ufL'  a  number.  7S0 

lIlsruIKK     1)1',     lA      I'KIMIKK      MlMlAIKK      KN 

Kkanck.     I'aris,  lli-iiri  I.iiuri'ns,  fr.  4.51). 

The  iicvrnty-iinc  illustrationt  in  tins  litllc  vnliimr 
nrc  all  drawn  ircnn  intrri'slmy  nri^finals  ;  lliu  liistory  nf 
llic  Hiihjcct  IH  t.ikcn  U|i  with  llic  rciKii  nl  \.iaw\  \IV  , 
anil  carrii'd  thr(iii),'h  lo  mir  own  limr.  In  l-'riiuli  art 
HO  much  rxcfllcnt  lecliniial  anil  artistic  skill  has  ymir 
III  battl«'-i>aintinn  that  a  nrparatc  trratisi'  on  tin'  siiiijri  t 
IH  ilrsiralilr.  Tht-  prrsi'nt  one  is  hardly  complftf,  I'lit 
It  will  nerve  a  useful  purpoHc,  750 


J 


I'ollIU 
I'alis 


I'.Iiidf 
(Jiian- 


i:coic 


t^; 


KAN     C'ARRlfs,     IMAUIlk     F  I' 

(I'lmi;  Ociivri'  ct  il'iini.'  \'ic 
tin,  iS(|5,  25  fr. 

Sit  what  is  said  aliovr  iiiulrr  this  .uithor's 
I'lamanilc." 

Jran  (ami's  was  a  srul|ilor  of  fircat  and  unusual 
ids,  who  ilii'il  youni;  in  iH^^i,  after  havinj;  divotid 
liinsi'lf  for  Iwinty  years  mainly  to  decorative  work. 
I'ottery  interested  liim  greatly,  and  he  produced  m.iny 
nieces  of  e.xlr.iordinary  novelty  of  form  and  «l.i/e.  The 
lioiik  ccjiitaiiis  a  Kreat  many  pictures  ut  tlicbe  and  of  Ins 
Hculplure.  730 


Allfiton,  Waohington.     .S'.r  Swfi.iser,  M.  1". 
AnderNon,  William. 

J.M'.WKSK  \Viinl).i;si;K,\VI\c;s.      I'lirtfnliii  Miill- 

onraiih,   May,  iSi)?.      I.innl.i   Scclcy   iV   Co. 
N.  Y,,  Macmillan,  75  c 

The  present  catalogue  is  ni.iiniy  cnnlined  to  Kuro- 
jiean  art,  as  a  proper  consideration  ot  (Oriental  art 
leads  necessarily  towards  the  inclusion  of  very  costly 
hooks.  The  present  little  work  should  he  noted  as 
written  by  an  entirely  trustworthy  scholar,  the  author 
of  lar^'e  and  valuable  works  on  the  same  subject.  Jap- 
anese Prints  and  Color,  which  li.ive  attracted  very 
much  attention  and  have  brounht  enormous  prices  of 
late,  are  treated  here  briefly  but  well.  701 

Angelico,  Fra.    .SV<  Swucisir,  .M.  1". 

ArniHtrong,  Walter. 

'I'lir.  .\kI  III'  Wll.I.IAM  (Jl  IMIK  Ouril.VKDSiiN. 
I'ortfiiliii  .Miiiiiiurapli,  I'el).,  I>ij3.  Lniid,, 
Sccluy  iV  Co.      N.  ^'.,  Maciiiillaii,  75  i'. 

Orchardson  'S  a  painter  whose  work  is  admired  by 
painters,  as  well  as  a  composer  of  popul.ir  subjects  of 
romantic  and  sentimental  character  His  ^tenius  is 
unic|ue  In  each  of  these  departments'  it  is  a  ^reat  pity 
thai  so  little  of  his  work  is  to  be  seen  in  America.  .Mr. 
Armslront,'  is  a  very  competent  critic  and  biofjrapher. 

750 

Till'.  I.ii'K  1)1'  \'i;i.Asi,iiK/..  I'i)ril'iilin  .MiiiiD- 
),'rapli,  lulv,  l.Si)f).  I.oiiil.,  Sfclcv  iV  Co. 
N.  Y..  .Mar'millan,  ?i.25. 

The  giant  of  art,  V'elasi|uez,  whose  life  is  written 
exhaustively  by  Jusli,  whose  (genius  is  discussed  elabo- 
rately by  Stevenson,  and  concerning  whom  there  is  a 
Kood  mono(;r.iph  by  I.efort,  is  tre.ited  here  by  an  ex- 
cellent critic  and  man  of  sound  jiid^jment.  'I  here  are 
four  admirable  plates  and  a  number  of  text  illustrations 
all  produced  by  photojiraphic  processes.  750 

TiiK    .Xkt   oi'   VkI.ASi,iI'|;Z.       Portfolio    Mdmo- 

Ki'aph,    Oct.,    iS(/).      Loiui.,    Scclcv   is:    Co. 

N.  Y..  Macmillan.  Si. 25. 

Forms  the  natural  conclusion  of  the  author's  "  Life 
of  Velasquez. " 

TiKiMAS  fi.\iNsnoRm'i;ii.  rortfolii)  Mono- 
ffraph,  .Sept.,  1894.  I.ond.,  Scclcy  vV  Co. 
N.  Y.,  Macmillan,  75  c. 

One  of  the  more  valuable  of  these  mnnoHraijlis,  The 
illustrations  are  excellent,  the  biography  ancl  criticism 
brief  and  full  of  meaning.  750 

Ai.KRKi)  Stevens,  a  biographical  study.   I'aris, 
Liiirairie  de  I'Art,  iHSi,  15  fr. 
Alfred  George,  or   simply  Alfred  Stevens,  was  a 


sculptor  who,  if  he  ti.ii!  Iiveil  i;i  It.ily  1 
tiiry,  or  in  Kr.ince  in  the  XVI. ,  would  have  been  oni 
of  the  productive  and  f.imous  men  of  his  time.  He 
died  in  y^TSs  leaving  behind  liiin  no  lart;e  and  costly 
monument  except  the  tomb  of  the  Miike  of  Wellington 
in  St.  Paul'statliedral  The  story  of  liis  life  and  work, 
and  the  stran^'e  w.iy  in  which  he  w,is  ininused,  is  well 
told  111  this  book.    .Many  illustrutiunii.  730 


I'mukis   Iinks,  Cam('.es  k  i 
i;.  H.  .\.)     I'lris,  (Jtiantin, 


Babelon,  ErnoNt. 

I.\   (luAVi  i;k    is 

Imaii.i.ks.     (H. 

5  fr. 

(iem  eni;ravinc,  as  the  phr.ise  is  in  Knfflish,  included 
both  cameo-cutlmtr  ,ind  enyr.ivnm  in  intairlio  These 
arts  were  at  their  hiL'hest  excellence  in  aiitli|Uity,  but 
the  t'ems  of  the  Ueii.iissance  are  also  beautiful,  and 
there  IS  modern  Work  of  value.  .Mr,  llabelon  is  .in  en- 
tirely competent  iuduu  and  historian  uf  this  subject. 

700 

Bacon,  Henry. 

I'.\Kls|.\N  AkI'  .\Mi  ,\KI'ISIS.  Most.,  IliUlgh- 
lon,   1S.'^3,  !?3. 

An  account  of  the  arlist-life  nf  Pans,  which  is  the 
^riat  centre  of  art  sliiilv  in  I'airope,  and,  with  this, 
notices  of  the  painters,  I'reiuh  and  other,  whom  the 
author  has  thought  most  iiiterestini;  as  subjects  of  dis- 
cussion, (alculiited  to  >rive  a  really  intelligent  sense 
of  the  ^'cneral  ch.iractir  of  modern  .irt,  especially  paint- 
\nv.,  as  It  IS  found  in  I'aris. 

The  reader  is  reinmded  how  much  must  be  allowed 
for  the  dilTerences  of  opinion  even  amoni,'  the  best  in- 
foimed  and  most  profound  and  delicate  critics.  .\ 
change  of  a  few  years  in  the  date  of  an  author's  re- 
m.irks  may  often  make  a  decided  change  in  the  point 
of  view  he  lakes.  Thus,  it  is  probable  that  the  remarks 
devoted  to  Manet  as  compared  with  Alfred  Stevens 
would  be  very  dilTerent  if  written  in  i8cift,  instead  of 
188.',  or  before.  In  like  manner  it  is  perhaps  to  be  re- 
),'retted  that  the  three  p.iintersof  milit.iry  sub|ects,  I)e- 
taille,  De  Neiiville,  and  Klizabeth  Thompson,  now 
I.ady  Hutler,  should  be  treated  as  if  they  were  of  miite 
or  nearly  the  siime  decree  of  merit.  700 

Baldry,  Alfred  Lys. 

Ai.iii'.iM  .MiiMki::  Ills  Iji'i:  .wu  Wukks.  I.ond., 
(icorgc  Hell  vS:  Sons.  N.  Y.,  .Macmillan, 
I>ij4,  lr'22.50. 

Albert  Moore  was  a  painter  of  that  class  which  rather 
ilisrei,'arils  narrative  and  anecdote  and  what  may  be 
called  liter.iry  subjects  in  painliii^.'s.  He  cared  for  color 
and  for  desijjn  in  line  and  mass;  he  was  a  painter  of 
almost  uneifualled  merit  both  technically  and  In  matter 
of  composition  and  expression.  .After  his  death  in  iKijj 
this  handsome  volume  was  prepared  to  commemorate 
his  work.  .\  irrcat  number  of  very  beautiful  photo- 
(graphic  illustrations  ,ire  included,  and  the  text  is  of 
value.    See  what  is  said  under  Dell's  "  Burnc-Jones." 

750 

Bastien-Lepage,  Jules.     .S',,'  Caitwriglit,  Julia. 
Bartolommeo,  Fra.     .S'.,  Scott,  Leader. 

Bayet,  Charles. 

La  I'l'.iM  I'KK  I'.i'  i.A  Sn'i.rri'KF  CiirI^tikwk 
KN  Okikm'.      I'aris,  'I'horin.  \>i^i).  fr.  4.50. 

A  treatise  in  extension  or  continuation  of  the  same 
MyzaiUine  art 


author's  work  on 
the  books  by  Uiehl. 


See  what  is  siiid  of 
750 


Y.,  Cassell,  1S94,  %i. 


Beard,  William  H. 

AcriiiN  IN  .Aur.     N. 

An  intcrestint,'  book  in  very  simple  lanKuage,  and 
with  many  slight  illustrations.  It  would  be  useful  for 
the  student,  as  calling;  his  attention  to  some  of  the  con- 
ventional resources  of  the  descriptive  painter  A 
ureal  deal  may  be  learned  from  il  of  the  way  in  which 
l)ainiers  and  illustrators  work.  707 

Beckwith,  J.  Carroll. 

Cakcii.i'.s-Di'kan  :  ICiidi'akd  .Mankt. 

Two  articles  of  •' Modern  French  M.isters"  (which 
sec).  The  paper  on  Manet  is  peculiarly  valuable  as 
(iivintr  some  familiar  insi);ht  into  the  end  sought  by 
this,  the  first  of  the  so-called  Impressionists. 


Painting  and  Sculpture. 


»7 


ivcil   III   Italy  I 

XVI.,  wiiulil  have  hrcn  uni 
Linnii-i  inrn  >>(  his  tJinv.  He 
iiiiil  hiin  no  lari;<'  and  costly 
h  of  thi-  Diiki'  of  Wi'llinKton 
rtii'  '.lory  of  liiH  life  and  work, 

Ml  li  lie  w,i»  misubi'd,  is  will 
illustrutiuiis.  730 


;Ki<r,s  Kinks,  Cam^ks  k. i 
H.  A.)     I'lris,  Ouiintiii, 

phrasp  IS  in  Enalish,  incliuli-d 
nuravint;  in  intaglio      Thi'sc 

t  I'Xccllciur  in  aiiti(|iiity,  hut 
me  are  also  hcaiitifiil,  anil 
iliii'.     Mr.  Hahelon  is  an  en- 

U  historian  of  thin  subject. 

700 


Utri^is.     Ildst,,  llmiKti- 


i«t-lifp  of  Pans,  which  is  the 
111  l''.iiro|>e,  and,  with  this, 
rnu  h  and  other,  svliom  the 
interestun,'  as  siihjects  of  dis- 
;ive  a  really  intelli(;enl  sense 
f  modern  .irt,  es|iecially  paint- 

I  how  much  must  he  .-illoweil 
iiion  even  aniont;  the  best  in- 
ind  and  delicate  critics.  A 
\  the  date  of  an  author's  re- 

lecided  change  in  the  point 
t  IS  probable  that  the  remarks 
npareil  with  Alfred  Stevens 
f  written  in  iBcjii,  inste.ul  (jf 
manlier  it  is  perhaps  to  be  re- 
iiti'rsof  military  siib|eils,  iJe- 

Klizabeth    Thompson,   now 

eated  as  if  lliey  were  of  <niite 

of  merit.  700 


l-IKK  .\M)\V<iKKS.     I.iilKJ., 
ms.     N.    v.,    Maciiiillan, 

inter  of  that  chiss  which  rather 
anecdote  and  what  may  be 
paintings,  lie  cared  for  color 
id  mass;  he  was  a  painter  of 
loth  technically  and  in  matter 
ision.  Alter  Ills  death  in  iHij) 
is  prepared  to  commemorate 
dier  of  very  beautiful  photo- 
included,  and  the  text  is  of 
mder  Hell's  "  Huruc-Junes." 
750 

.S'i(-  Ca^twri^{llt,  Julia. 


Scdtt.  I-cadcr. 


Set!  prrRF.  ClIRf;TIF.N\K 
■|'hurin,  rS."^!).  fr.  4.50. 

1  or  ccmtinuation  of  the  same 

ine  art.     See  what  is  said  of 

7  50 


Y.,  Casscll,  1S94,  $2. 

1  very  simple  lan^uatje,  and 
ions.  It  would  be  useful  for 
attention  to  some  of  the  con- 
;he  descriptive  painter  A 
I  from  It  of  the  way  in  which 
•ork.  707 


OTARI)  .MaNKT. 

irn  French  Masters"  (which 
let  IS  peculiarly  valuable  as 
inht  into  the  end  sought  by 
led  Impressionists. 


I 


4 


Bell,  .l/>  \  Arthur  ( N.  D'Anvera). 

M.VSI  KKI'IH  KS  111  IIIK.  (iKI.\l  .\KTIMS,  ,\.|p. 
141K1  17110.  Ilhis.  l.iirnl.,  (icn,  Hell  \ 
Sniis.      N.  Y.,  .MaiDiiilan.  i.Si)5,  $7.51), 

Process  plates  of  a  number  of  the  best  known  pict- 
ures in  Kurope  are  L'iven  in  this  volume  ;  on  their  ac- 
count It  IS  well  wortTl  possessing  The  le.xt  is  of  little 
iiii(ii>rtance,  but  names  .mil  dates,  reasonably  well  veri- 
Jica,  give  every  such  book  a  certur  utility.  760 

Bell,  Sir  Oharles. 

A.N.M'iMV  AM"  I'llIl.nsoi'IlY  iM  I'.Xl'Ur.SSlnN  ,\s 
CoNNKl  I  K.n  \\1  I  II  FlM-  .\KI.  KiI.  (Hcihll.) 
N.  v.,  .Maiinillan.  1^1. fn. 

This  celebrated  book  still  retains  its  utility;  its 
views  should  be  lomiiared  with  those  in  ll;iinertnn's 
*•  Man  111  .Art,"  lle.ird  s  "  .Action  111  .Art,"  .ind  D.irwin's 
"  K.ipression  of  Kmolions  in  M;in  and  .Animals."  Thi' 
illuHlratiunii  arc  deservedly  ebteemed.  700 

Bell,  Malcolm. 

Sir  Kiiw.vKii  MiRNK-JiiM'>i.  I.onil,,  ricf)rj,'c 
Hell  \  .Sons.     N.  Y.,  Macmillan,  Hiij,  ?i). 

First  published  in  iRii.^ ;  the  iiresent  is  the  second 
edition  Iturne-Jones  is  the  chief  living  representative 
«)f  that  kind  of  iiaintintr  which  was  once  called  I're- 
Kaphaelite,  or,  of  its  natural  development.  IliITi  rinces 
of  opinion  as  to  the  value  of  this  artist's  painting  must, 
of  course,  exist  and  must  be  very  positive  and  decided. 
This  book  represents  his  pictures  and  drawing's  as  well 
as  can  be  done  in  black  and  white  and  in  about  hki 
illustrations.  It  is  suitifested  that  this  book,  .Mr.  Kliys's 
book  on  I.eii,'hton,  and  that  of  H,ildry  on  .Albert  .Moore, 
be  compared,  especially  in  their  illustrations,  as  a  |,'ood 
way  of  fornimi,'  an  iile;i  of  the  great  variety  observable 
in  modern  Knt;lisli  painting.  750 


.\vcc  Kravures 
Paris,   Librairii: 


Benedite,  Leonce. 

\.v.  Misfii-;  nr  LiVKMiiorui 
ct  5  platKhcs  hors  ic.\te. 
(I'.^rt,  i.'^ij4,  iS  fr, 

The  Museum  of  the  r-uxembnurpr  is  peculiarly  im- 
portant to  students  as  containing  wh.it  have  been 
thought  from  time  to  time  ilie  masterpieces  of  I'rench 
painting  and  sculpture  There  are  other  works  in 
which  the  treasures  of  this  museum  are  engraved  and 
described,  but  this  is  the  most  recent,  708.4 


a  Critical 
I  larpcr. 


ami    Historical 
iS.So.       Out    ot 


Bei^jamin,  S.  O.  W. 

Art  in  .Amkru-.v  ; 
Sketch.  N.  Y. 
print. 

The  afipreciation  of  different  artists  and  their  pecu- 
liarities IS  worthy  of  praise.  It  is,  therefore,  valuable 
for  a  history  of  painting  and  .sculpture  in  .America  dur- 
ing the  years  previous  to  liSo.  704 

Beraldi,  Henri. 

Lks  (Ju.wkiks  nr  I)r\--NF,i-vii':MK  Sif:ci.r.. 
I'.iris,  .Morir;iriil  iS:  ratinit,  i>S2,  3  v..  ijo  fr. 

The  numerous  works  intended  for  the  guidance  of 
the  student  and  collector  of  ancient  prints  cannot  be 
named  in  this  catalogue  The  old  engravers  in  almost 
all  cases  are  considered  in  special  works  both  critical 
and  biographical.  This  work  on  the  artistic  engravers 
of  our  own  day  has  a  peculiar  utility  in  presenting  the 
names,  and  works,  of  men  who  are  not  as  yet  so  well 
Itnown  to  the  written  history  of  art,  760 

Berenson,  Bernhard. 

Ykmiian  Paimkrs  ok  thf.  Rknaissance  ; 
With  an  index  to  their  works.  N.  Y..  Put- 
nam, 1895,  Si. 25 

Mr.  Berenson's  works  on  art  have  made  a  remark- 
able impression  on  thinking  people  ;  the  one  before  us 
is  a  little  pamphlet  ot  80  pages,  to  which  isadded  a  clas- 
sified list  of  the  works  of  'Venetian  Masters  occupying 
60  pages  more,  the  place  where  each  picture  is  to  be 
found  beinR  mentioned.  It  must  be  understood  that 
the  text  of  the  book  itself  is  not  at  all  of  the  nature  of  a 
catalogue.  It  is  a  sympathetic  examination  into  the 
his'ory  and  true  nature  of  Venetian  painting.      759  5 


TlIK,    rioKKMIVK    I'MMKKs   oF    I  UK    RkAAIS- 

.s.\N(  K  :     With    an    inile\    to    their    works. 
N.  v.,  I'uinam,  isi,(i,  $1. 

A  hook  in  iill  respects  like  the  "  Venetian  Painters." 
We  are  promised  also  two  other  simil.ir  volumes,  one 
on  the  central  ll.iliaii  p.iinlers  and  one  on  the  iiorlh 
Italian  painters,  thus  making  a  treatise  in  four  voliiiius 
on  the  paiiitcritol  the  Kciiaissancc.  7&U.S 

I.iiKFS/i)  I.orro:  iin  essay  iti  constructive 
iirt  criticism.     N,  Y..  Piitnaiii.  isim    i|l3.«;o. 

The  two  books  described  above  are  small  handbook*; 
the  present  one  is  a  sipiare  octavo  volume  ol  w>  pages, 
devoted  to  ii  c'ose  examination  of  the  works  of  a  little- 
known  painter  who  lived  troin  i.|Koto  i:,i.i. 

This  IS  a  monograph  of  unusual  merit,  (ontaining  art 
amount  of  originaT  research  which  few  such  tiooks  have 
reijuircd.  It  is  illustrated  by  ;.bout  .'s  photographic 
pl.ites,  and  text  and  illustrations  together  bring  the 
student  very  close  to  the  spirit  ot  early  Italian  painting. 

Bertrand,  Alexis. 

l'R.\M,nis  Kihk,  (I..  .\.C'.)  I'.iris.  I. ihrairiu 
(le  I'.Xri,  is.S.s,  fr.  7.50. 

Of  this  great  sculptor  there  is  an  admirable  notice 
in  llamerton's"  .Modern  I'renchmen,"  given  m  this  list. 
The  present  Work  is  adnrneil  with  some  excellent  illus- 
trations of  Kude's  Work  and  with  two  portraits  of  the 
m.m.  Tliere  is  no  modern  sculptor  with  whom  it  n 
easier  to  sympathize  than  Kude,  and  whose  work  has  a 
greater  churm,  730 

Blackburn,  Henry. 

R.wiiiii.iii  C.M.Di.inir;  a  jicrsonal  meinoir  f)f 
his  early  art  career,  Ilius.  N,  V.,  Rout- 
iedne,  iSSf),  J^, 

Caldecott  was  one  ot  the  most  original  and  vigorous 
of  inoderii  artists  in  book  illustration.  There  is  as  yet 
no  other  biography  of  him  than  this  very  interesting 
and  instructive  book.  700 

Blake,  William.     .SV,  (Jilchrist,  A. 

Blashfield,  E.  H. 

l.KiiN  liiiNN.M  :  |r.\\-P\i'r,  I..\i'rf.ns, 

Two  papers  forming  p.irt  of  "  Modern  I'rench  J-fas- 
ters,"  winch  see.  The  article  on  Horinat  contains  a  great 
deal  of  anecdote  about  artist-hfe  in  Paris,  but  has  a 
great  deal  of  artistic  criticism  mixed  with  it.  In  the 
case  of  Laurens  the  critic  had  the  diriicult  task  of  criti- 
cising an  artist  who  is  too  much  of  a  story-teller,  too 
much  of  a  narrator,  to  be  a  perfectly  sound  and  true 
modern  painter,  and  also  one  who,  as  is  here  stated, 
has  no  power  of  representing  movement,  and  who  is 
still  a  man  of  orodigious  ability  In  each  of  these 
cases  we  wish  lor  a  more  fearless  critical  treatment. 
Mr.  Blashtield's  power  as  critic  is  fully  shown  in  his 
edition  of  Vasari,  which  see, 

Bouchot,  Henri. 

La  I.iriiiKiKAi'inK.  (H.  E.  H.  .\  )  Paris, 
Quanlin,  5  fr. 

One  of  the  books  of  an  excellent  scries,  and  not  in- 
ferior to  the  others,  Kven  the  reproductions,  though 
on  so  small  a  scale,  arc  of  utility  to  the  student.  Lithog- 
raphy, introduced  during  the  first  quarter  of  il.e  pres- 
ent  century,  is  an  art  as  closely  dependent  upon  the 
artist's  own  eye  and  hand  as  etching  itself.  It  is 
greatly  to  be  regretted  that  photogra|ihy  has  caused  a 
comparative  abaudunment  of  this  art  for  popular  illus- 
tration. 763 

Bracquemond. 

I)f  Dkssin  Fr  DK  I. A  Cori.ErR.  Paris,  G. 
Charpentier  cs:  Cie.,  iSS?,  fr.  3.50. 

Bracquemond  is  a  painter  who  has  given  much  at- 
tion  to  decorative  art,  and  he  is  also  an  etcher  of  very 
widespread  reputation  This  volume  is  a  far  more  an- 
alytical treatise  than  those  of  his  brother  painters  Cou. 
ture  and  Fromentin,  and  is  less  imaginative  and  inter- 
esting :  It  is  in  fact  a  text-book  from  which  much  can 
be  learned,  707 


i8 


Painting  ami  Sculpture. 


i 


I 


•    .. 


Brllcke,  Ernst. 

TiiK  HiM.w  Fir.i'RF. :  Irs  Mkaitif.s  anp  De- 
(•Kf IS.     With    preface  liy   VVni.    Aiulcrsun. 
Lond.,  H.  Grevel  &  Co.,  1891,  7s.  6(1. 
A  handbook  calculated  to  be  of  very  (jreat  use  to 
the  student  of  fif;ure-paintinn,  asa  subject  to  l)e  studied 
for  enjoyment  and   cultivation.     Whether  any  hand- 
books are  of  any  use  to  the  practical  student  of  the 
filTure  is  extremely  doubtful.    Sec  what  is  said  of  Mr. 
Hatton's  book  in  this  list.  707 

Bunner,  H.  O. 

Amkkkan  Postf.rs,  Past  and  Present.  In 
The  Modern  Poster.  N.  Y.,  Siril)ner,  1S95. 
In  this  paper  Mr.  Dunner  has  pone  further  back  into 
a  highly  inartistic  past  than  the  authors  of  other  articles 
in  this  volume  It  is  almost  as  interesting  as  histiiry, 
IhouL'h  the  pictures  are  reproductions  of  the  ugliest 
possible  originals— or  half  of  Ihcm  are.  74.0 

Burckhardt,  J. 

The  Cicerone:  Paintinc.s  in  Itai.v.     Lond., 
Murray,    iS;.}.      Out  of  print.      A  French 
edition,  Paris,  Didot,  2  v.,  25  fr. 
Has  been  in  use  for  years  as  a  guide-book  of  the 

higher  class  much  used  by  studious  travellers  in  Italy. 

708.5 

Burne-Jones,  .SV;-  Edward.     .Siv  Hell,  Malcolm. 

Oaldecott,  Randolph.     .SV,    Hlackburn,  Henry. 

Callot,  Jacques.     .SV,  Vachon,  M. 

Carpaccio.     J»,v  Molmenti,  P.  G. 

Carpeaux,  J.  B,     .SVf  Chesneau,  Ernest. 

Cartwright,  Julia  (Mrs.  Henry  Ady). 

Ji'i.ES  Mastien-Lepac.e.  Portfolio  Monograph, 
April,  I -94.  Lond.,  Seeley  &  Co.  N.  V., 
Macmillan,  75  c. 

Four  splendid  photn-engravings  and  a  number  of 
half-tones  help  in  the  notice  of  this  great  realist.  See 
also  Mr.  Weir's  paper  in  "  Modern  French  Masters." 

705 

Jean  Fran(;ois  Mii.i.et  :  His  Life  and  Let- 
ters. Lond..  Swan  Sonnenschein  iS:  Co. 
N.  Y.,  Macmillan,  1896,  S''?. 

The  authoress  has  c  ..lUined  the  infrtrmafion  gath- 
ered from  the  books  of  Sensier  and  Fied.igniel  and 
much  information  from  articles  in  the  .American  maga- 
zines, together  with  a  number  of  Millet's  letters.  The 
result  IS  a  very  good  and  satisfactory  treatise  on  the 
man;  it  may  be  thought  that  it  is  not  m;ide  very  clear 
what  arc  the  causes  of  the  wonderful  fascination  which 
Millet's  painting  has  exercised  over  his  contemporaries. 
There  are  nine  illustrations  fairly  successful  in  giving 
an  idea  of  as  many  of  the  artist's  masterpieces. 

700 

Rathaei..  N.  Y.,  Macmillan,  1895,  2  v.,  75  c. 
each. 

Made  up  of  the  Portfolio  Monographs  frtr  Jan.  and 
Aug.,  1895  ;  contains  a  brief  record  of  Raphael's  career, 
in  which  the  attiibution  of  paintings  to  himself  and  to 
others  is  based  upon  the  best  authorities;  the  general 
estimate  is  just.  The  needed  illustrated  work  upon 
Raphael  has  not  yet  appeared  ;  in  the  meantime  the 
illustrations  in  this  book,  and  in  K;iroly's  Madonnas, 
taken  with  the  text  of  this  volume,  serve  a  temporary 
purpose.  706 

Cavallucci,  C.  Jacopo. 

Mani'.m.e  1)1  .SiiiRiA  DEM.A  Sci'i.Ti'RA.  Turin. 
Ermanno  Loescher,  (1  lire. 

A  brief  historical  record  with  80  valuable  illustrations. 

See  Selvatico,  "  Le  .Arti  del  Oisegno,"  for  the  reason 
why  books  in  Italian  should  be  sought  for  and  studied 
■when  they  prove  to  be  good.  Italian  sculpture  in  the 
Roman  Imnerial  epoch  was  of  importance  in  the  history 
of  art,  and  from  1250  to  1550,  or  thereabout,  Italian 


sculpture  stood  at  the  head  of  aM  that  was  done  in  Eu- 
rope, forming  a  body  of  art  second  ,)nly  to  that  pro- 
duced by  the  Greek.s  of  the  (ireat  I'eriod.  The  modern 
Italian  view,  when  careful  and  critical,  is  es'ifcially  to 
be  asked  to  correct,  or  confirm,  the  conclusions  of 
writers  in  French,  German,  and  English.  730 

Century  Gallery. 

Selected  Proofs  from  -the  Centi'ry  Maga- 
zine AND  St.  Nicholas.  N.  Y.,  Century 
Co..  1S93,  ?io. 

A  portfolio  of  proof  impressions  of  wood-cuts.  The 
art  of  wood-engraving  has  been  develoiied  in  a  peculiar 
wav  in  the  I'nitcd  States,  ani  'he  (.'fiitmy  Magaziiiv 
(called  Scri/'iier's  Monthly  before  i83oor  1881)  has  been 
especially  the  leader  in  thii  development.  Compare 
the  volumes  described  under  Cole  and  Stillman  and 
Cole  and  Van  Dyke.  Tliis  pccu'iar  American  wood- 
engraving  comprises  much  that  is  beautiful  and  truly 
artistic.  705 

Chapin,  Willis  O. 

Masters  and  MASTF.RPiErES  of  Enoravinc. 
N.  Y.,  Harper,  1S93,  !*io. 

Roth  in  its  text  and  illustrations  this  book  is  useful 
tc  those  who  wish  to  begin  the  study  of  orints.  The 
illustrations  are  reproductions  in  fac-simile,  or  reduced, 
of  important  prints  in  different  kinds.  Wood-engraving 
as  well  as  engraving  on  metal  is  included.  769 

Chapu.     .S,r  Fidiere,  C). 
Ohesneau,  Ernest. 

Ar  TISTES     A.SdI.AIS     CONTEMPORAINS  ;     J.     E. 

Mii.i.Ais,  E.   MiRNE-JoNEs,  ETC.     Paris,  Li- 
lirairie  de  I'Art,  1SS2,  25  fr. 

See  what  is  said  of  thiscntic  under  "  L'Kducation  de 
I'Artiste,"  in  Part  I.  His  criticisms  of  English  art  have 
been  marked  by  an  insight  into  its  significance  which 
is  very  surprising  in  a  Continental  author.  700 

Josiit'A  Reyoni.ds.  (L.A.C.)  Paris.  Lihrai- 
rie  (ie  I'.'Xrt,  18S7,  fr.  3.50. 

Chesneau  h;is  given  an  amount  of  attention  to  I'-n  - 
Iish  art  very  rare  with  a  Continental  student.  Tlic 
present  analysis  of  the  work  of  a  painter  who  just 
missed  greatness,  and  who  will  be  a  fascinating  sti<ty 
as  long  as  his  pictures  last,  is  to  be  recommended  be- 
yond most  brief  artistic  biographies  700 

La  PEiNTfKE  Anc.i.aise.  Transl.  by  L.  M. 
Etherin^ton  .is  The  Eniii.isii  Sciiom.  of 
Paintinc.  Edited  by  John  Sparkes,  with 
a  |)refai'e  by  Prof.  Ruskin.     X.  Y.,  Casscll, 

1895.   S^2. 

See  what  is  said  of  this  excellent  writer  under  other 
titles    the  translation  in  this  case  is  probably  careful 

750.2 

Le  STATfAIKE  J.    H.  CARPEArx,  SA  VIE   ET  SON 

(i.fVRi:.     Paris,  yuanlin.  18S0,  25  fr. 

One  of  the  best  of  the  monographs  of  recent  artists, 
and  fortunately  not  an  expensive  book.  Contains  a 
number  of  valuable  illustrations.  If  not  the  greatest 
of  the  I'rench  sculptors  of  our  own  time,  Carpcaux  is 
one  <if  the  most  characteristic,  powerful,  and  original. 
He  ir.  perhajis  best  know:;  by  the  iiitcrfstir.g  f.-.tintai;; 
in  the  (iardcns  of  the  Luxembourg,  where  a  group  of 
four  figures  representing  the  four  parts  of  the  world 
support  a  well-imagined  structure  representing  the  as- 
tronomical sphere,  and  also  by  the  group  on  the  new 
opera  house  in  Paris,  "  I.a  Danse,"  which  group  was 
defaced  by  having  ink  thrown  at  it  soon  after  Us  com* 
pletion.  730 

Child,  Theodore. 

Art  AND  Critktsm:  Mdnocrapiis  and  Stid- 
lES.     N.-Y.,  Harper,  i<f.. 

A  dozen  jiapers  about  different  detached  phases  of 
painting,  ancient  and  modern,  and  a  few  words  about 
sculpture.  There  is  a  serious  lick  of  ex.ict  comprehen- 
sion of  art  as  a  special  and  peculiar  means  of  e.-(pres- 
sion,  and  errors  occur,  hard  to  account  for,  but  a  good 
general  impression  can  be  got  in  each  case.  Good  and 
well-chosen  illustrations.  The  chapter  on  the  Impres- 
sionists is  very  good.  704 


that  was  done  in  Eu- 
oncl  ,)nly  to  that  |)ro- 

I'crio!!.  The  modern 
rilical,  is  especially  to 
1,  the  conclusions  of 
linglish.  730 


K  CF.NTrRV  M.Vr.A- 
N'.   Y.,   Ceiiturv 


ns  of  wno'l-cuts.    The 
leveloped  in  a  peculiar 
i'fiitiov  Miti;aziiie 
i83oor  1881)  has  been 
L'lopment.     Compare 
lie  and   Strllman  and 
iar  American  wood- 
is  beautiful  and  truly 
705 


F.S   f>|-    FST.UAVINC 


ons  this  book  is  useful 
study  of  orints.  The 
fac-simile,  or  reduced, 

nds.    VVood-engravini; 

included.  769 


RMPORAINS  ;     J.     E. 

s,  Kic.  Paris,  Li- 
fr. 

n  ler"  L'l'ducation  de 
ims  of  Enu'lish  art  have 
Its  sitrniticance  which 
al  author.  700 

C.)  Paris,  I.ihrai- 
I). 

It  of  attention  to  Kn  - 
inental  student.  The 
)f  a  painter  who  just 
be  a  fascinatint;  st  jdy 
to  be  recommended  be- 
lies 700 

Transl.   l)y  L.   M. 

MU.ISII    Sillixil.   ol' 

cihn  Sparkfs,  witli 
n.     X.  Y.,  Casscll, 

ent  writer  under  other 
i;  is  probably  careful 

750.2 

M'X,  SA  VIK   Kl    SON 
iSSo,  25  fr. 

raphs  of  recent  artists, 
ve  book.  Contains  a 
i.  If  not  the  urcalest 
own  time,  Carpeau.x  is 
lowerful,  and  original. 


raiiitiug  anJ  Sculpture. 


19 


e  interer'.ti:-.;j 


.'.untai 


jrK,  where  a  Kroup  of 
ur  parts  of  the  world 
e  reiirescntini,'  the  as- 
he  uToup  on  the  new 
se,"  which  frroup  was 
t  it  soon  after  us  eom« 
730 


;UAriis  AMI  Snn- 


nt  detached  phases  of 
id  a  few  words  about 
k  of  e.xact  comiirehen- 
uliar  means  of  e.-tpres- 
;count  for,  but  a  \i,noA 
each  case.  Good  and 
lapter  on  the  Impres- 
704 


Clarac,  Charles,  Comtc  de. 

Misfiii  UK  S(  ri.i'Ti'RK,  antiqck  kt  MnoERNE; 

I)KS(  KiniDN,     HISTORIi.HK     KT     (IK.M'llK.irK, 
Df     LolVRK     KT     l)K      I'OCTKS     SKS     l'.\RTIKS. 

Paris,  Tcxicr,  1820-53,  320  fr.    Out  of  print. 

6  V.  octavo  of  te.xt.     6  v.  oblon;,'  of  plates. 

Contains  outline  drawings  of  several  thousand  works 
of  sculpture,  ancient  and  modern,  iiicludin^f  many 
which  have  never  been  in  the  l.ouvre.  The  te.xt  has 
historical  value  and  tells  what  p.irts  are  restored.  Al- 
thouiih  not  easy  to  consult,  it  is  of  great  value  as  a 
book  of  reference,  since  no  other  similar  work  exists. 
The  student  will,  of  course,  not  take  these  outlines  as 
adequate  representations  of  the  works  of  art.  730 

Clement,  Oharles. 

Dix'AMi's.  (L.A.C.)  Paris,  Lihrairiu  (Icl'Art, 
iSSf),  fr.  3.50. 

A  monotfraph  on  a  paintef  so  recent  that  he  has  not 
as  yet  reached  his  assured  place  in  art.  Information 
concerninK  such  artists  is  especially  difficult  to  obtain. 
A  trustworthy  biography  ;  the  illustrations  are  most 
characteristic,  some  of  them  being  de\|otcd  to  carica- 
tures by  the  master.  750 

Clement,  Clara  Erskine. 

Handuddk  ok  CuRisiiAX  SvMnoi.s  and  Sto- 
lUKs  OK  I'liK  Saints  AS  Ilhsikaikii  in  Art. 
Edited  by  Katherinc  E.  Cunway.  Host., 
Houghton,  1S95,  S2. 

Handimok  of  Lfc.kndarv  and  M  Yriioi.ficicAi. 
Aim.     Host.,  Houghton,  1895,^3. 

These  two  books  are  intended  to  explain  to  those 
who  study  paintings  representing  Christian  legend  the 
meaning  of  the  symbols  employed  and  the  traditional 
history  of  the  sainted  personages  represented.  In  this 
resoect  the  books  are  like  the  works  of  Lord  Lindsay 
and  .Mrs.  Jameson.  A  really  adequate  treatise  on  this 
.subject  would  take  the  form  of  a  great  encyclopaedic 
work  of  many  volumes,  and  would  involve  an  amount 
of  study  in  preliminary  investigation  and  arranging 
which  it  IS  probable  that  no  one  will  undertake.  Some 
iclei  of  the  necessary  labor,  cost,  and  time  required  for 
the  work  can  be  gathered  by  comparison  with  Rohault 
(le  Fleury's  work,  "La  Messe,"  and  its  continuation, 
*'  I.es  Saints  (le  la  Messe,"  whicli  two  works  extend  to  12 
volumes  in  quarto,  with  hundreds  of  large  plates.  Nor 
will  it  be  possible,  until  such  an  exhaustive  work  shall 
have  appeared,  to  prepare  a  handbook  that  shall  be 
really  trustworthy.  In  the  meantime  the  books  under 
consideration  will  not  lead  one  very  far  astray,  and 
will  give  at  all  events  the  commonly  received  explana- 
tion, which  may  often  be  all  that  is  required.  703 

Coffin,  William  A. 

AmKKICAN  Il.I.ISlRATIONS  OK  To-Dav.  Sirib- 
>iir'.{  Miii^'iiziiii-,  Ian.,  I'eh.,  and  March,  1892. 

These  papers  contain  a  great  deal  of  sound  discussion 
of  the  peculiar  character  of  Illustration  as  a  line  art, 
and  of  drawings  not  strictly  Illustration  which  seem  so 
or  are  called  so  because  inserted  in  books  and  pe.-iod- 
icals.    See  next  title. 

A  Word  Aiiori'  P.mmim;.  Scn'/'ihr's  Mii,i;ii- 
ziiit\  Ajiril,  i8()4. 

Mr.  Coffin  is  one  of  the  very  few  painters  who  write 
ab  )ut  the  art  which  they  follow.  He  is  a  judicious 
critic,  not  the  slave  of  schools  or  of  the  opinions  of  his 
own  allies  and  friends  among  artists.  His  writings 
111  ly  be  studied  with  great  protit. 

TllKODORK  RoCSSKAf  .  PaS(  Al.  Dai.NAN-HoI- 
VKRKT. 

Two  articles  of  "  Modern  rrenc'.i  Masters,"  which 
s.'e. 

Mr.  Coffin's  critical  work  is  of  singular  value;  it  is 
toind  and  yet  easily  intelligible.  These  two  papers 
<le  '  with  one  master  of  the  late  and  one  of  the  present 
ivneration,  each  famous  and  powerful,  each  of  almost 
thi;  highest  rank. 

CoIr,  Timothy. 

Oi.D  Drii  II  AND  Fi.KMisii  Masikrs  engraved 
bv    Timothv  Cole  ;    with    critical    notes  bv 


John  C.   Van   Dyke,  and  comments  by  the 
engraver.     N.  V.,  Century  Co.,  1S95,  ?7. 50. 

See  what  is  said  of  Mr.  Cole's  wood-engraving  under 
"Old  Italian  Masters."  The  notes  by  Mr.  Van  Dyke 
h.ave  been  carefully  prepared,  and  embody  .'i  good  ac- 
count of  the  painting  of  the  Netherlands.  See  what  is 
said  of  this  writer  under  the  titles  of  his  other  works. 

708.9 

Oi.i)  Italian  Masters  engraved  by  Timothy 
Cole;  with  historical  notes  by  \V.  J.  Still- 
man,  and  brief  comments  by  the  engraver. 
N.  v.,  C!entury  Co.,  1892,  S'lo. 

The  wood-cuts  by  Mr.  Cole  from  paintings  in  Italy 
were  made  in  the  presence  of  the  paintings,  and  arc 
unique  in  two  ways:  they  are  among  the  very  highest 
achievements  of  wood-engraving  ;  they  render  the  orig- 
inals with  a  sympathy  and  an  essential  truthfulness 
hardly  ever  reached  in  reproduction  of  any  sort.  This 
book  and  its  mate,  whose  title  precedes,  constitute  pict- 
ure galleries  of  the  highest  value.  Mr.  Stillman's  notes 
are  the  work  of  a  man  familiar  with  Italian  painting; 
they  were  prepared  with  care,  and  with  a  knowledge 
of  the  best  and  the  most  recent  authorities.  Notes  are 
added  by  the  engraver  which  ought  to  be  carefully 
studied  ;  there  are  other  notes  by  Mr.  C.  F.  Murray, 
who  is  at  once  a  painter  and  a  dealer,  who  is  a  recog- 
nized authority  on  Italian  painting.  708.5 

Collignon,  Maxim  e. 

Hisi'oiRK  DK  i.A  Scfi.rTfRF.  Grecqie.  Paris, 
Firmin-Didot  cS:  Cie.,  1S92,  30  fr. 

Only  the  first  volume  has  appeared  of  this  excellent 
and,  in  a  sense  and  for  a  time,  final  history  of  (Iree'' 
sculpture.  It  deals  with  the  art  before  the  time  of 
Pericles;  but  this,  as  the  reader  should  remember,  in- 
cludes, by  the  common  consent  of  archiEologists,  such 
perfected  work  as  the  Spear-bearer  (Doryphoros)  of 
the  Naples  museum;  the  1' illet-ticr;Diadumenos)of  the 
British  Museum,  the  Amazon  of  the  Vatican,  the  so- 
called  Idolino  of  the  Florence  Gallery,  the  Disc-thrower 
(Discobolus)  of  the  Palazzo  Lancelotti,  and  other  works 
of  like  importance.  The  sculpture  of  the  temple  of 
Zeus  at  Olvmpia,  and  that  of  the  temple  at  ./Egena,  are 
here  also,  and  of  course,  archaic  pieces  sucVi  as  the 
most  interesting  painted  statues  found  on  the  Acropolis 
in  1883  and  1886.  The  illustrations  of  all  these  are  nu- 
merous and  fine.  If,  therefore,  the  work  should  never 
be  carried  farther,  it  is  complete  within  its  limits  and 
of  the  highest  value.  See  excellent  notice  in  Am. 
Journal 0/ Archaolosy^  Vol.  VIII.,  p.  87.  730 

PiiiDiAS.     (L.A.C.)     Paris,  Librairie  de  I'Art, 

iSof),  fr.  3.50. 

Has  been  translated  into  English  by  Miss  Frothing- 
liam.  The  original  contains  a  number  of  fairly  sat  s- 
factory  illustrations.  The  reader  shou'd  not  forget 
that  no  single  work  of  art  which  has  been  preserved 
can  be  said  to  be  the  work  of  Phidias,  and  that  all 
ti'^atises  upon  his  art  are  in  a  sense  conventional  as 
being  critical  remarks  upon  a  body  of  ancient  scu'pUire 
which  "he  modern  world  has  agreed  to  call  Pliidian 
for  reasons  which,  perhaps,  are  sufficient.  730 

Conway,  Sir  William  Martin. 

Eaki.y  Fi.k.misii  Artists  and  Thkik  Pkkde- 

CKSSORS    ON     THE    LoWKR     RlIINK.        N.     Y., 

Macmillan,  18S7,  $2.50. 

A  carefully  compiled  work  on  a  subject  which  has 
always  interested  students.  Compare  works  mentioned 
under  Crowe  and  Cavalcaselle  and  Kugler,  as  well  as 
monographs  on  special  artists.     Many  illustrations. 

750.0 

Cook,  Edward  T. 

Poi'ti.AR  Handhook  ok  the  \a  tion.m.  Gai.- 

LERV.      N.    Y.,    Macmillan,    1 888.      Out  of 

print. 

A  model  guide  to  a  picture  gallery,  its  point  of  view 
in  criticism  Deing  at  once  admitted,  and  it  is  t,-)  be  de- 
sired that  every  important  collection  should  be  eluci- 
dated and  explained  in  a  similar  way. 

Contains  a  great  many  extracts  from  Ruskin's  works, 
has  a  jireface  by  him,  and  might  be  assumed  to  be 
written  from  the  critical  point  of  view  of  that  celebrated 
writer.  That,  however,  is  not  entirely  the  ease.  The 
accounts  of  the  different  artis»i  and  the  remarks  uiion 
the  qualities  of  their  art  are  full  of  soundness  and  c.ear 
insight.  There  is  also  an  attempt  to  ci  mpare  the  opin- 
ions of  competent  critics.  708.2 


20 


Paintin;^  and  Sculpture. 


Oorot,  Camille. 

FKIir    Al.lUM    CLASSini'K   DF.S    CIIKFS-n'fT.t'VRF. 

DK  CoKoT  ;  40  reproduclions  dcs  jjrincipalcs 
(I'uvrcs  clu  maitre  dans  Ics  musfees  011  (  (j1- 
lections  particulii;rcs;  texlc  par  Roger-Miles. 
Paris  and  N.  Y..  Hraun  C16ment  Cic  it.()5, 
$r.5o. 

This  inexpensive  little  collection  of  photoijraphic  re- 
productions fjives  forty  pictures  of  the  man  whom 
many  persons  think  the  jfreatest  landscape  painter  of 
modern  times,  Corot  is  hardly  this,  because  his  art  is 
very  limited  in  its  character,  but  it  is  of  unrivalled 
beauty  in  its  chosen  way.  Althouj^h  the  charm  of  color 
is  the  jjreatcst  charm  in  Corot's  pictures,  they  are  still 
tine  when  translated  in  black  and  white,  for  their  beauty 
of  line  and  mass  is  unsurpassed.  750.4 

Al.lU'M    m-    ri'.NTKNAIKF,    DE    CaMII.I.F.    CdROT, 

comprenant  50  photofrraviircs  (i'ai)ros  Ics 
principalcs  anivres  du  maitre.  Texte  ex- 
pjicatif  par  Ch.  Formentin  et  Rdger-Milcs. 
Ktiides,  sonnets,  ])()esies  divcrses,  par  ies 
principaux  ecrivains  et  poetes.  Paris  ami 
N.  Y.,  Hraun  Clement  Cie.,  1895. 

See  what  is  said  in  ne.xt  prcce<linK  note  under  "  Petit 
Album  classi(|ue  deschefs-d'd'uvrcsde  Corot  "  ;  one  A 
these  hooks  can  be  procured  if  the  other  cannot. 

Sec  also  under  Thomson,  D.  C.  750.4 

Correggio.     .SV<'  Ricci,  C. 

Courajodj  liOuis. 

Lks  OrKUNKS  liK  I.'aRT  MnriFRNF.  Icgon  d'oil- 
vcrturc  du  cours  d'histnire  tie  la  sculpture 
du  moyen  age,  de  la  Renaissance  el  des 
temps  modernes  ;  a  I'ecole  du  Luurre, 
iS93-')4.     Paris,  Leroux,  1S9.),  fr.  3.5". 

Tins,  with  the  book  next  cited,  forms  part  of  a  his- 
tory of  modern  sculpture  which  will  be  of  considerable 
value.  It  must  be  understood  that  the  sculpture  which 
has  its  centre  in  Paris  and  which  forms  a  great  school 
of  art,  very  independent  in  its  methods  and  original  in 
some  of  its  attainments,  is  as  fully  important  as  the  cor- 
r?-spondinjf  school  of  painting.  Sculpture  \.\  generally 
les-i  popular  than  painting,  but  that  only  makes  the 
study  of  it  the  more  important  to  one  who  wishes  to 
understand  modern  art.  Mr.  Courajod  is  well  known 
as  an  arch:e»logical  student  in  matters  connecteil  with 
the  line  arts,  and  especially  with  the  vast  collections  nf 
the  Louvre,  730 

L'lIISTOIRF  Df  nFrARTFMFNT  OK  I. A  SCII.l' IIKK 
.MDDKRNK    AT     MlsKK    III'    LnlVKK.        Paris, 

Leroux,  1894,  fr.  ^.50. 

This  book  is  to  be  considered  in  connection  with  the 
work  named  next  above.  735 

Couture,  Thomas. 

MiVriHinK  K.r  kn  irftifns  h'atki.ikr.  Paris, 
Pulilisiied  by  the  autluT,  iSfiy,  7  fr. 

Couture  was  a  most  able  painter,  concerning  the 
quality  of  whose  art  there  will  always  be  gnat  diflcr- 
ences  of  opinion.  He  died  in  1879,  leaving  behind  him 
but  little  work,  yet  that  little  sure  to  command  the 
closest  attention  from  students  of  painting.  He  left 
two  small  books  containing  his  impressions  and  opinions 
about  his  art;  these  would  be  of  singular  value  to 
criticiiiin  even  if  the  words  of  able  painters  were  not  so 
seldom  recorded  for  our  use.  751 

Paysauk  :     Entretikns    d'atki.ifr.       Paris, 
Published  l>y  the  author,  1S69,  4  fr. 
See  next  preceding  note.  751 

Cox,  Kenyon. 

Prvis  Di'.  CiiAV,\NNKs  :  Paii.  P.vrnRV. 

In  "  Modern  French  Masters,"  which  see.  Mr.  Cox, 
who  has  given  special  attention  to  mural  painting,  and 
who  IS  a  practised  and  a  very  able  writer  on  artistic 
subjects  of  many  sorts,  treats  in  these  two  papers  the 
two  men  who  are  probably  the  most  tiowcrful  oainters 
of  large  compositions  for  decorative  purposes  of  all  the 
modern  world. 


Crowe,  Sir  Joseph  A. 

Uandhook  ok  Paiminc:  the  (German,  Flem- 
ish, AM)  Di'TCH  Schools,  based  on  the 
handbot)k  of  Kuf^ler.  In  two  [larts.  Lond.. 
John  Murray,  1SS9,  24s. 

Almost  entirely  a  new  work,  based  upon  the  W.iagen 
edition  of  Kugler  but  remade,  with  omissions  and  al- 
ditions.  There  is  no  better  book  for  the  study  of  t'l,. 
earlier  painting  of  the  north  of  Europe.  759 

Crowe,  Sir  Joseph  A.,  mul  Cavalcaselle.  O.  D. 

New  HisroKv  ok  Painiim;  i.v  1  r ai.v  krom 
THE  II.  10  XVI.  CENitRY.  Drawn  up  from 
materials  and  recent  researches  in  the 
tirchives  of  Italy,  as  well  as  from  personal 
inspection  of  the  works  of  art  scattered 
throughout  Furope.  I.ond.,  John  Murray, 
iSfiO,  3  v.,  63s.     Out  of  jirint. 

The  four  principal  works  by  these  authors,  namely, 
those  devoted  to  Italian  art,  are  books  which  it  is  im- 
possible to  dispense  with  in  any  library  devoted  t  )  line 
art.  They  are  very  voluminous,  the  matter  is  not  skil- 
fully arranged,  and  many  of  the  ascriptions  have  been 
disputed  by  good  judges.  Hut  there  isnoencyclopjedia 
of  Italian  art  which  contains  the  result  of  so  much 
labor  and  of  so  large  and  personal  and  immediate 
knowledge  of  the  paintings  themselves.  The  books 
are  sometimes  dillicult  to  obtain  and  vague  promises  nf 
revised  editions  have  been  made.  759.5 

History  OK  Paimtm;  ix  North  Italy,  Ven- 
ice, Padca,  Vicen/.\,  Vi;rona,  I"errar.\, 
Milan,  Fruli,  Brescia,  krom  the  .\IV. 
to  HIE  XVI.  Cemirv.  Lond.,  J(jhn  .Mur- 
ray, 1S71,  2  v.,  42s.     Out  of  print. 

Sec  what  is  said  of  this  and  the  other  works  by  the 
same  authors  under  "  History  of  Painting  in  Italv." 

750.5 

Rai'HAEI.  :  His  Life  and  Works.  Lond., 
John  Murray,  i.'^.'*?,  2  v.,  33s. 

See  what  is  said  nf  tins  and  the  other  works  by  the 
same  authors  under  "History  nf  Painting  in  Italy." 
.'\part  from  its  value  as  an  analysis  nf  Raphael's  art 
and  an  account  of  its  relation  to  the  art  of  Ins  time, 
this  IS  a  most  interesting  and  instructive  book,  at  oni-e  a 
romance  and  a  valuable  piece  nf  history.  750 

TiiLW:  Ills  Like  and  Times,  with  some  ac- 
count of  his  family.  Illus.  Loud.,  John 
Murray,  1S77,  2  y.,  21s. 

See  what  is  said  of  this  and  the  other  works  ny  the 
same  authors  under  "History  nf  P.iinting  in  Italy." 
There  is  cnniparatively  little  infnrnialinn  in  existence 
concerning  the  details  of  Titian's  long  life;  this  Imok 
is  devoted  mainly  to  his  paintintrs,  great  ingenuity 
being  shown  in  ascertaining  the  historical  sei|uence  nf 
undated  wnrks.  The  changes  in  his  style  as  a  painter 
are  followed  up  with  great  thoroughness.  750 

The  Karly  Flemish  Pmnters;  iiii-ir  I.iyk.s 
,\M)  Works.  2d  ed.  Illus.  Lond.,  John 
.Murray,  1S72,  15s.      N.  Y.,  Scribiier.  !;'). 

First  iniblished  in  1857,  reissued  as  a  second  edition 
in  187J  with  valuable  additions  .ind  an  index.  Il  treats 
more  fully  what  is  contained  in  t''e  first  volume  nf 
Crowe's  edition  of  Kugler,  named  elsewhere,  and  is, 
perhaps,  the  best  book  nn  the  subject.  759.0 

Crowninshield,  Frederick 

MiRM.  Paimtnc.  Host.,  Ticknor  X  Co., 
iS.-Sy.     Out  of  print. 

Devoted  to  an  examination  Into  the  different  proc- 
esses used  in  painting  on  walls,  that  is  tc,  say,  of  large- 
scale  painting  in  which  decorative  and  expressional  art 
are  combined,  and  m  which  the  artist  has  in  view  to 
provide  a  picture  interesting  to  the  pul  lie,  although 
primarily  of  artistical  value  as.n  decorative  composition. 
Encaustic  painting,  whicli  was  the  art  specially  in  use 
among  the  ancient  Romans;  tempera,  or  distemper, 
which  was  especially  in  use  in  the  .Middle  Ages; 
fresco,  or  painting  on  wet  plaster;  painting  on  dry 
plaster;  painting  in  oil,  as  on  stretched  canvas;  and 
painting  by  the  modern  process  of  water  glass,  are  all 
described  and  their  methods  explained  with  sulficient 
fulness  to  aid  in  a  decision  as  tu  the  method  to  be  eiu- 


■.  (ipRMAN,  Fl.KM- 
based    on    the 
,V()  jiarts.    Loiul., 

icd  upon  the  WaaKi'U 
til  omissions  and  al- 
foc  the  study  of  t'ic- 
rope.  759 

valcaselle.  G.  C 

IN    llM.V    I'RiiM 

Drawn  ii|)  fniin 
searches  in  the 
as  from  personal 
if  art  scattereil 
,,  John  Murray, 
int. 

se  authnrs,  naincly. 

ooks  which  it  is  ini- 

rary  devoted  t  i  line 

he  matter  is  not  skil- 

scriptions  liave  been 

re  is  noencyclopjL-dia 

e   result  of  so  much 

)nal  and    immediate 

nselves.     The  books 

nd  vaL'ue  promises  of 

759. 5 

KTii  Italy,  \'i-.n- 

KKDNA,    I'KKKAKA, 
KKliM     IIIK    XI\'. 

I.nnd.,  Juhn  .\hir- 
(if  print. 

other  works  by  the 
I'aiiUing  in  Italv." 

750.5 

WoKKS.        I.iiIKJ., 

33!*- 

le  other  works  by  the 
f  I'aintint;  in  It.ily." 
ysis  of  Raphael's  art 
)  the  art  of  his  time, 
ructi  ve  book,  at  once  a 
iistory.  750 

IKS,  with  some  ac- 
us.      Loiul.,    lohn 


c  other  works  ny  the 
f  I'aintinf,^  in  Italy." 
irmation  in  e.xisteTK'e 
s  lonn  life  ;  this  Ixiok 
n^'s,  ),'reat  inj,'eniiity 
historical  se(|Uence  of 
his  style  as  a  painter 
iglines's.  750 

KKS  ;     TIIKIR  I.IVKS 

us.  l.ond.,  John 
.,  Scrihner,  1:6. 

'd  as  a  second  edition 
id  an  inde.\.  It  treats 
t''e  lirst  volume  of 
.■(1  elsewhere,  and  is, 
ject.  759.9 


Paintiiij:^  and  Sculpture. 


ar 


'ritkn<ir    iV    Co., 

to  the  different  proc- 
lat  is  to  say,  of  lar^'e- 
1  and  e.xpressional  art 
artist  has  in  view  to 
the  put.lic,  aithounh 
corative  composition. 
e  art  specially  in  use 
npera,  or  distemper, 
the  .Middle  A^es; 
ter;  painting  on  dry 
retched  ranvas;  and 
i  water  iflass,  are  all 
lained  witli  sutticient 
he  method  to  be  em- 


ployed. Another  chapter  Is  devoted  to  the  "  education 
of  the  mural  painter,  '  and  there  are  valuable  notes. 
This  work  by  a  highly  trained  artist,  who  is  also  famil- 
iar with  the  grea.  work  of  the  Italian  cinque-cento  and 
of  modern  Paris,  and  who  has  thought  much  and 
written  powerfully  on  his  own  art,  is  valuable  for 
others  than  the  special  students  of  mural  painting. 

750 

Cundallj  Joseph. 

Hans  Hoi. HKIN.  (Great  Artists  Series.)  I.nnd., 
Low,  1S71J,  3s.  6d.     N.  Y.,  Serihner,  61.25. 

An  instructive  little  book  on  the  life  of  a  great  artist 
who  lived  in  exciting  times,  with  judicious  comments 
on  his  work.  It  has  been  compiled  from  the  larger 
work  in  German  of  Dr.  Alfred  VVortmann.  750 

Hkif.k  History  ok  Wood-F.ncrayinc,  irom 
ITS  INYKNI'ION.  Lond.,  Sampson  Low  \ 
Co.,  i.Sy5,  2s.  fid.     X.  Y.,  -Scribner,  $1. 

.\n  excellent  account  of  the  subject  in  the  briefest 
possible  compass,  and  including  about  tifty  well-selected 
examples.  701 

Cu.st,  Lionel. 

Ai.hkri'  Di'RF.R's  Encravimis.  Portfolio 
Mono^ra|)h,  Nov.,  1S94.  Lond.,  Seeley  iV 
Co.     N.  v.,  Macinillan,  75  e. 

Dilrer  is  one  of  the  ten  or  a  dozen  artists  whose  work 
appeals  to  every  one  and  who  are  of  all  ages  alike. 
This  great  quality  is  visible  in  his  engravings ;  al- 
though the  reproductions  given  in  this  volume  of  the 
splendid  prints  are  not  always  as  line  as  they  should  be 
(those  on  pages  51  and  55  being  notably  defective), 
others,  and  especially  the  full-page  plate,  are  very  fine 
indeed.    The  text  is  biographical.  769 

Dargenty,  G. 

I.K  Haron  Gros.  (L.,'\.C.)  Paris,  Librairie 
de  l'.\rt,  rSS;,  fr.  6.50. 

Gros  as  a  painter  is  less  esteemed  now  than  other 
men  of  '.lis  timo  ;  most  readers  would  go  to  this  biogra- 
phy rather  as  a  contribution  to  the  history  of  an 
important  period.  As  the  painter  of  the  big,  old- 
fashioned  historical  picture,  however,  and  that  not 
without  a  decidc<l  merit  of  his  own,  Gros  is  worthy  of 
some  study  by  moderns.  The  present  work  is  tolerably 
complete,  and  contains  a  list  of  his  works  as  well  as  of 
his  very  numerous  pupils,  and  a  bibliography.         750 

Darwin,  Charles  Robert. 

TiiK  E.xi'RKssioN  OK  Emotidxs  t\  Man  and 
.•\nim.\i.s.     Illus.     X.  Y.,  Appieton,  !?3.5<). 

Though  written  without  any  reference  to  line  art, 
well  worthy  of  careful  study  and  of  comparison  with 
such  books  as  Bell's  "  .Anatomy  of  Expression."  Dar- 
win's analysis  of  tlie  nature  of  facial  expression,  and 
his  interpretation  of  it  as  seen  in  men  and  animals,  is 
marked  by  a)l  the  intelligent  and  suggestive  insight 
and  the  absolute  fairness  of  this  illustrious  writer.   138 

Davillierj  Bdron  Charles. 

FoRllNY,  SA  YIK,  SON  (KfVRE,  SA  CORRKSrOND- 

.\N('K.     Paris,  AuKUstc  Aiibry,  ii^75,  30  fr. 

Fortuny  was  one  of  the  most  artistic  of  modern 
artists ;  a  painter  and  etcher  who,  whatever  the  final 
judgment  of  his  brother  artists  upon  his  work  may 
prove  to  be,  is  certain  never  to  be  ignored  by  them. 
Four  or  live  admirable  reproductions,  a  number  of  his 
letters,  and  a  brief  and  sympathetic  discussion  of  his 
merits  are  contained  in  this  book.  The  artist's  life, 
balanced  between  France,  Spain,  and  Italv,  affords  an 
interesting  narrative.  There  is  a  smaller  but  still  use- 
ful treatise  on  this  artist  in  the  series  caMed  "  Les 
Artistes  Celebrcs.''    (Paris,  Librairie  dc  I'Art,  8  fr.) 

750 

Decamps.     S,-c  C16ment,  Charles. 

Da  ChampeauXj  Alfred. 

HisioiRK  DK  i.A  I'KiNTURE  d£corativf,.  Paris, 
Laurens,  1890,  15  fr. 

Perhaps  the  only  general  treatise  on  the  subject  ex- 
cept Mr.  Crowninshield's— which  is  rather  practical 
than  historical.  750 


Delaborde,  Henri,  /  /<  dwA  . 

La  Grayirk.  (H.E.H..\.)  Paris,  Quanlin, 
5  fr.  Transl.  by  R.  A.  .^L  Stevenson  as 
Encrayim;  :  Irs  Orioin,  Prockssks,  ani> 
History.  X.  Y.,  Cassell,  1.SS6,  ?2.  Out 
of  print. 

Treats  the  subject  iii  a  large  way,  taking  up  wood- 
engraving  and  typography;  the  crivU-  process,  etch- 
ing, engraving  with  the  burin,  me/zotint,  stipple, 
printing  in  color,  etc.,  and  an  historical  account  of  ihr 
art.    A  very  useful  book.  '  761 

GtR.\RI>  lu)Kl,lNCK.  (L..\.(.".)  Paris,  Li- 
brairie de  I'Art,  fr.  6.50. 

l.delinck  wan  a  consummate  engraver  of  the  times 
of  Louis  XIV.  and  LouisXV.  Onlycollcclors  c>f  prints 
know  much  about  him,  or  much  ot  the  other  artists  of 
his  time,  and  it  is  for  this  reason  that  this  book,  with 
its  many  facsimile  illustrations,  is  included  here. 

760 

Delacroix,  Eugene.     .V,v  \'t-ron,  E. 
Delaroche,  Paul.     .SVr  Reus,  L  Kuutz. 
De  Lostalot,  Alfred. 

LkS  ClIKKS-I)'(ElYRK   DE   I.'.\RI'  \V  XIX.    SlK.- 

fi.K  :  L'fecoi.K  kr,\n(;aisk  iik  Dki-xcroix  A 
Rkcnai'i.i'.  Paris,  Librairie  Illustree,  Mont- 
gredien,  26  fr. 

Belongs  to  the  series  cnt'.logucd  under  the  namer.  of 
Gonse,  Lefort,  Michel,  and  De  Wyzewa.  The  epoch 
of  painting  covered  by  this  vo'.ume  may  be  jiut  down 
roughly  as  iSjolo  1870,  thus  covermg  The  later  works 
of  Diaz,  Couture,  Delacroi.4,  i.nd  .Millet,  an  1  the  earlier 
work  of  the  men  of  our  own  time.  It  forms  a  part  of 
the  series  of  which  Michel's  book  is  the  lirst,  this  ore 
the  second,  and  Lefort's  the  third.  759.4 

Del  Sarto,  Andrea.     .SV<' .Scott,  Leader. 

De  Pontes,  Lucien  Davesies. 

EitDKS  SIR  \.\  Pkin  rn:K  \'eni  itknni-:.  Paris, 
Levy  freres,  1S67,  3  fr. 

The  .luthor  of  this  book  had  undertaken  a  large  and 
exhaustive  treatise  on  Venetian  painting,  but  li:s  death 
prevented  its  completion.  .Ml  that  was  put  into  shape 
of  that  propose.!  work  is  contained  in  this  extremely- 
suggestive  volume.  "7^0  K 


759 


%. 


De^ardins,  Abel. 

La  \'ik  Ki'  i.'(Ei"YREs  i>K  Jkan  Hoi.ocnK 
d'apres  les  manuscrits  ineilits  recueilies  par 
M.  Fouciiuesde  \'agoronville.  Paris,  (^uan- 
tin,  1S83,  io(j  fr. 

This  monograph,  devoted  to  the  works  of  the  great 
artist,  of  which  only  one  or  two  are  commonly  known 
to  travellers  and  archxo'ogists,  is  a  large  a"d  somewhat 
expensive  work;  its  100  foiio  pages  and  very  numerous 
photographs  and  drawings  are  devoted,  after  all,  to  an 
artist  of  the  second  importance.  This  is  the  artist 
called  in  Italy  Giovanni  Pologna,  and  sometimes  in 
English  John  of  Douai,  who  is  the  author  of  the  we'l- 
known  "  Mercury  Alighting  on  Earth,"  and  seen  poised 
for  a  moment  on  one  foot,  which  is  in  the  Ulhzi  tial- 
lery  at  Florence,  and  of  the  famous  bronze  doors  of  the 
Cathedral  of  Pisa.  The  book  is  valuable  lor  its  c  m- 
sideration  of  the  architectural  and  decorative  concep- 
tions of  the  artist,  as  well  as  his  generally  known  statues. 

700 

Destree,  Olivier  Georges. 

TllK  RkNAISSANCK  ok  Scfl.rTfRE  TN  HEI.r.IfM. 

Portfolio  Mono(>raph,  X(jv.,  1S95.     Lond., 
Seeley  &  Co.     X.  Y.,  Macmillan,  75  c. 

One  of  the  more  important  of  the  new  "  Portfolio" 
series,  because  introducing  the  reader  to  an  art  of  which 
he  might  otherwise  hear  little.  The  art  of  Helgium  is 
in  many  ways  a  thing  apart  ;  the  sculpture  treated  in 
this  essay  is  not  very  valuable  according  to  the  stand- 
ards generally  set  up.  730 


22 


Painting  and  Sculpture, 


Lks  i'Kf;-R.\rir.\fii,ii  ks  •  nnU's  sur  I'art  ilucora- 
tif  ct  la  pc'iiiiiirL' Lii  AnKlcterrc.     HruxcUcs, 
DiL-trich,  I-"!)?,  4  fr. 
Valuable  as  uivinij  the  opinion  of  a  Continental  critic 

of  inHuence  on  an  art  peculiarly  English.  750.2 

De  Wyzewa,  T. 

LKS   ClIKKS   D'fEfVRF.  7>F,  L'ART  Ai:  XIX.  -Sli,- 

ci.K  :  L.\  Pkimikk  kikanckkk.  Paris,  I.i- 
brairic  Illusircc,  Monturcdicii,  20  fr. 
One  of  the  valuable  series  of  five  works  catalogued 
under  the  names  of  Cionse,  Lefort,  I)e  Lostalot,  and 
Michel.  This  volume  IS  iniurod  by  the  attempt  to  make 
a  readable  book,  written  in  a  taKinj,'  style,  wliile  the 
Held  which  had  to  be  gone  over  was  much  too  vast  for 
such  treatment.  750 

Sidron,  Adolphe  Napoleon. 

Mamki.  n'lcoNoc.K.M'iiiK  ciiRKTiF.N.  Transi. 
by  E.  J.  .MilliiiKton  as  Chris riAN  ico.mic- 
RAi'iiv  :  history  of  Christian  art  in  the 
Middle  Ak<-'s  ;  with  appendices  and  supple- 
ments by  .Margaret  Stokes,  (liohn.)  N.  Y., 
Macmillan,  2  v.,  ^3. 

Dea's  with  the  traditional  manner  of  representing 
the  different  personages  of  sacred  history  and  legend 
as  contained  in  a  ms.  of  the  Byzantine  Empire.  It 
should  be  compared  with  the  works  by  Guenebault. 
Mrs.  Jameson,  and  Lord  Windsor,  as  showing  the 
e.xact  regulations  which  were  laid  down  in  writing  for 
the  guidance  of  painters  of  the  traditional  ages.  The 
practice  is  described  in  the  two  English  books  espe- 
cially ;  in  the  book  before  us  the  precepts  are  given 
positively.  247 

Dobson,  Austin. 

W1I.1.IAM   HocARTii.     N'.  Y.,  Dodd,  Mead  \ 

Co.,  iSi^r,  $7.50. 

A  most  sympathetic  and  just  analysis  of  the  merits 
of  a  great  painter  who  lived  in  an  inartistic  time. 
Thanks  to  his  engravings  he  will  always  be  belter 
known  as  a  portrayer  and  satirist  of  the  manners  of 
his  time  than  as  an  artist  in  the  more  limited  sense. 
But  Mr.  Dobson  hasdonehim  iustice  in  both  capacities. 
There  is  a'so  a  smaller  treatise  by  the  same  author  in 
the  "Great  Artists  Series,"  Lond.,  Low,  3s.  6d.  N.  V., 
Scribner,  $1.25.  750 

Donatello.     Sec  .Muntz,  E. 

Dupre,  A.     .S.v  .Saunier,  A. 

DUrer,  Albert.  .S'.vCust,  Lionel;  Ephrussi,  C; 
Scott,  \V.  H. ;  Sweetser,  M.  F.  ;and  Thaus- 
ing,  M. 

Eastlake,  l.,uiy. 

HisroKV  OK  OlR  Ldri),  ..S'lV  Jameson,  .Anna 
C. 

Edelinck,  Gerard.     .SVi'  Delaborde,  Henri,   /  V- 

tiuiite, 

Ephrussi,  Charles. 

Alhkrt  Dlrkk  Kf  sF.s  Df.ssi.ns.  Paris,  Quan- 
tin,  1SS2,  70  fr. 

The  drawings  by  Diirer  are  of  unusual  relative  im- 
portance, because  of  the  firm  delineation  usual  in  his 
paintings  and  those  of  the  (ierman  school  to  which  he 
belongs.  The  illustrations  in  this  book  include  what  is 
equivalent  to  a  considerable  collection  of  these  tine 
drawings,  together  with  reproductions  of  some  impor- 
tant paintings.  Many  of  these  prints  are  important 
photographic  plates  printed  separately.  Such  a  work 
as  this  may  be  considered  as  a  considerable  private  gal- 
lery of  works  of  art,  with  an  intelligent  comment  far 
more  full  and  detailed  than  even  the  best  cata'ogues 
tif  the  public  museums.  Mr.  Ephrussi  is  a  well-known 
collector  and  a  writer  who  speaks  with  authority. 

_  740 

Etex,  A.     Sec  Mangeant,  P.  E. 

Parrar,  Frederick  W. 

The  Lifk  ok  Christ  as  Represented  in  Ar  1 . 
Illus.     N.  Y.,  Macmillan,  i,S94,  %U. 
An  attempt,  similar  to  the  one  made  by  Lady  East- 


lake  in  her  "  History  of  Our  Lord  "  (seo  under  Jame- 
sonl,  to  bring  together  an  account  of  the  works  ol  an 
111  which  the  incidents  in  the  life  of  Christ  are  repre- 
sented, wliether  Hiblical  or  traditionary.  Togethe' 
with  the  history  o(  the  Saviour,  there  is  s  ime  accouru 
of  the  representations  of  Old  Testament  incidents  which 
were  assumed  to  have  relations  to  similar  incidents  .ii 
His  history.  There  are  many  illustrations,  and  thcsi- 
wi'l  be  found  useful,  though  they  arc  not  of  great 
beauty.  700 

FenoUosa,  E.  F. 

MiRAI.      PaIMINT.S     I\     l^OSTON-      PfHI.IC     Ll- 

liRAKV.      Host.,  Curtiss  iV  Co.,  1."^'/),  25  c. 

A  pamphlet  designed  for  visitors  to  the  Fioston  Pub- 
lic   Library,    describing  the   important   wall-paintings 
completed  in  1893  by  F'm  n  do  Chavannes,  John  S.  Sar 
gent,  and  E.  A.  .Abbey.    The?  value  ol  these  paintings  is 
well  explained,  but  the  tone  of  laudation  is  excessive. 

750 

Fidiere,  O. 

ClIAI'f,    SA   A'lE    K.\    SON    fFCVRE.       IIlus.     dc    6 

heliogravures  et  de  45  gravtircs  en  noir  et 
en  couleur.     Paris,  Plon,  1S94,  12  fr. 

An  account  of  the  life  and  work  of  an  eminent 
French  sculptor  who  died  in  1891  ;  the  author  of  many  of 
the  most  important  monumental  and  other  (,'roups,  por- 
trait statues,  and  ideal  compositions  in  Paris  and  other 
cities  of  France.  730 

Fisher,  R. 

iNrKonicTinv  to  a  CAT.vi.or.cE  ok  the  Early 
I  lAi.iAN  Prinis  in   rin.  liRinsii  .Miskc.m. 

Lond.,  lS,S6,  iSs.     Out  of  print. 

.■\  brief  introduction  to  the  study  of  old  prints  which 
will  be  useful  to  many  a  beginner.  760 

Forgues,  Eugene. 

<iA\'ARNi,    Pai'I,.     (L.A.C.)     Paris,    Lilirairie 
de  r.Xrt,  1SS7,  fi  fr. 

The  greatest  caricaturist  of  modern  times,  a  student 
of  character  so  brilliant  and  so  jirofound  that  it  is  to  be 
regretted  that  he  ever  turned  his  attention  to  caricature, 
has  never  yet  been  made  the  subject  of  an  adei|uate 
biography.  There  are  many  works  to  which  reference 
might  be  made,  but  this  brief  notice  serves  as  well  as 
anv  of  them,  and  needs  to  complete  it  only  the  long  list 
of  his  works  for  which  there  is,  of  course,  no  room  in  a 
popular  manual.  \  number  of  (Javarni'sdrawings  and 
several  portraits  of  the  artist  arc  reproduced.  741 


Forster,  Ernst. 

P.MNlTNi;  AND  SclT.l'IfR 
See  Part  I . 


IN  Germany. 


Fortnum,  O.  Drury  E. 

DkscRII'I  lYK  C.\  r\l,n(;i-K  OK  THE  HroXZES  OF 
ElRol'K.VN   ORKilN    IN    I  1 1 K  Soflll   KfNSINC- 

ToN   MisEf.M.      Lond.,   Chapman   iV    Hall, 
iS7('),  2s.  6d. 

There  is,  perhaps,  no  book  on  European  bronzes  as 
valuable  as  this.  The  long  introduction  of  210  pages  is 
an  excellent  essay  on  the  technical  processes  involved 
in  the  founding  and  finishing  of  bronze  and  the  artistic 
history  of  its  use.  The  catalogue  which  follows  in- 
cludes a  great  deal  of  valuable  critical  remark  appended 
to  the  descriptions  of  the  pieces.  Twenty-five  photo- 
graphic plates  represent  some  of  the  most  important 
i)ieces  of  bronze  work  of  the  collection;  and  tliis  col- 
lection, though  not  e(|ual  to  some  in  Italy,  has  the 
advantage  of  being  carefully  made  with  pieces  deliber- 
ately chosen.  739 

Fortuny.     .S'l-,-  Davillier,  Baton. 

Fromentin,  Eugene. 

.\r\i  I  RES  D'AiiRKi'ois  :  Hei.ck.he,  Hoi.- 
i.ANDE,  'Iransl.  as  'Ihe  Oi.k  Masiers  ok 
Hei.chm  ANii  Hm.i.ANi).  Host.,  Hough- 
ton, !?3. 

\v\  admirable  book,  full  of  soundest  criticism. 
For  a  Life  of  Fromentin,  see  under  Gonse,  Louis. 

759  0 


PainltH}:;  uiiil  SculMure. 


23 


orcl"'  (seo  under  Jnmc- 
lit  of  the  works  ol  an 
lu  of  Christ  are  ri'prr- 
aditionary.  ToHoiht" 
thcro  IS  sime  atcouiu 
tament  incidents  which 
to  similar  incidents  n 
lustrations,  and  thesi' 
they  arc  nut  oi  ijreat 
700 


,mo\      I>I-|)I,IC     1,1. 

\:  C(i.,  iSi/i,  25  c. 

tors  to  tho  Boston  I'ub- 

lortant   wall-paintings 

avanncs,  John  S.  Sar 

liK-ol  these  paintinfjs  is 

audatiua  is  excessive. 


FurtwMngler,  Adolf. 


750 


I'VKF..       IlUlS.     <lc    ^1 

ravtircs  en  noir  ct 
1S94,  12  fr. 

work  of  an  eminent 
;  the  author  of  many  o( 
ami  other  (jroups,  por- 
lons  in  Paris  and  other 
730 


)r,i'K.  oi-  Tiir.  F.AKi.v 
Hkiiish  MisKi  m, 
if  i)rim. 

udy  of  old  prints  which 
•-•r.  760 


)     Paris,    Lil 


irairic 


nndcrn  times,  a  student 
|)rolound  that  it  is  to  he 
i  attention  to  caricature, 
suhject  of  an  adequate 
irks  to  which  reference 
intice  serves  as  well  as 
Icte  it  only  the  lonj;  list 
of  course,  no  room  in  a 
lavarm's drawings  and 
;  reproduced.  741 


IN  Gkkmanv. 


d"  TIIK  nKOXZF.S  OK 
IK.  Sol  in  Kknsim;. 
Chapman   iV    Hall, 

1  European  bronzes  as 
iductioM  of  sio  payes  is 
cal  processes  involved 
bronze  and  the  artistic 
jue  which  follows  in- 
itical  remark  appended 
i.  Twenty-live  photo- 
)f  the  most  imiiortant 
illection:  and  this  col- 
line  in  Italy,  has  the 
Je  with  pieces  dcliber- 
73D 


Mi;i.i;i(.)(F.,     Hoi,. 

Oil)    M.ASTKRS   (iK 

Host.,   Iloiigh- 

indest  criticism, 
inder  Gonse,  Louis. 

759  9 


M.\mi;i<|'m;cks  ok  Grf.kk  Srfi.i'TfUK  :  i-ssays 
on  history  of  art.  Kdited  by  FAi^;cnic  .Sel- 
lers, with  li)  'iill-paKi:  |)latcs  .iiul  2i^J  text 
illiis.  N.  Y.,  Scribiicr,  i">i)5,  815. 
Tins  IS  a  romakint,'  in  En(,'lish,  rati  -  tlian  a  literal 
translation,  of  the  important  work  in  (ierman  of  Dr. 
I'"urtw,in^,'ler  It  is  a  study  broujjht  down  to  very  late 
<late,  of  the  latest  conclusions  of  arch:eolo>,'ists  in  re;;ard 
to  the  best  known  names  of  the  sculptors  of  anti(|uity 
and  the  e-istiiiL;  works  which  may  be  assij;ned  to  them 
in  oritiinals  or  in  copies;  and  also  of  the  Venus  de 
Milo  and  the  Apollo  ot  the  Belvedere.  An  appendix 
of  si.xty  pa(,'es  contains  a  most  intcrestini,'  account  of 
the  buildings  on  the  Acropolis  at  Athens,  In  all  this 
lonj;  im|uiry  the  theories  advanced  are  often  very 
bold,  and  sonic  of  ihem  undoubtedly  fail  to  be  accepted 
.IS  final  truth  ;  but  the  undue  boldness  of  ascription,  or 
datintr,  <-:in  do  no  harm  except  to  a  reader  who  is 
unaware  that  all  assertions  as  to  ancient  art  arc  more 
or  les.i  relative  733 

MkISI  FRWFUKF,  I1FK  riKIFrillSCIIKN'  P|..\SI'IK. 
Kimsti;esiliii;htli(hc  riitcrsiichiintjen.  Il- 
liis. I.ei|)/.itc  iiiiii  lU'rlin,  vein  (iicscckc  iV 
Dcvriciit,  I  •^1^3,  S;  marks. 

See  the  rearranged  translation  of  this  hook  under 
the  next  precedinj,'  title,  "  Masterpieces  of  (ireek  Sculpt- 
ure." 

Antt'yican  Jotirnai  0/ 

733 


See  a  thorouRh   review   in 
Ayt:lurolof;y,  Vol,  IX  ,  )).  220, 


OainHborough,  T.     S,i-  .Xrmstrom;,  VV. 
Galland,  P.  V.     .V,v  llavani,  H. 
Gardner,  Ernest  A. 

lI.VNDHdoK     OK     ClREEK     Scri.PTlKi:.         IllllR. 

\    Y.,  Macmillan,  iS<)6,  81.25. 

This  is  only  half  of  the  proposed  work  ;  it  will  be 
when  completed  the  best  convenient  manual  of  Greek 
sculpture  in  existence.  Written  in  a  critical  spirit,  with 
large  knowledge  of  archa;olugical  research.  733 

Gardner,  Percy. 

'I'vi'KS  iiK  CiKKFK  Coins:  an  arch.xoloi^ical 
essay.  Illiis.  Camhrid^e,  University  Press. 
N.  v.,  Macmillan,  88. 

Not  a  treatise  upon  numismatics  but  an  analysis  of 
Greek  coinage  considered  mainly  as  a  branch  of  sculpt- 
ure. Sixteen  plates  contain  about  500  photographic 
reproductions  of  (ireek  coins  chosen  for  their  beauty, 
and  these  are  classified  .iccording  to  the  design,  the 
emblem  or  figure,  the  head  or  group  which  forms  their 
principal  subject.  Some  of  the  rarest  coins  and  some 
of  the  commonest  are  given  here,  the  attempt  being  to 
olTer  perfect  specimens  of  the  finest  types,  and  to  ex- 
plain and  discuss  them.  737 

Gavarni,  Paul.     .Si<'  Forgues,  Eugene. 

Gilbert,  Josiah. 

L.\Niis(\i'K  IN  .\ui'  Hfforf,  Ci..\rnE  anp  S.\i.- 
VAi'oR.  llhis.  I. onii.,  John  Murray, 1S85,  30s. 

The  value  of  this  book  to  the  student  will  be  as  an 
historical  record  of  landscape  painting  in  Europe  from 
the  backgrounds  of  medi.X'val  miniatures  in  books  and 
mosaics  <lown  to  Rubens,  Claude  Lorrain,and  Salv.ator 
Rosa.  The  references  to  landscape  treatment  by  sculp- 
tors in  anti(|uity  and  artists  of  diflferent  kinds  in  the 
Kast  are  of  but  little  value,  and  the  citations  from  clas- 
sical authors  can  aid  the  student  but  little  in  forming  an 
idea  of  the  Roman  or  Greek  view  of  landscape        758 

Gilchrist,  Alexander. 

LlKK  OK  VVii.MAM  Hi.AKK.  Xcw  and  enlarKcd 
cd.,  illus.  from  Hlake'sown  works.  Lond.. 
MaciTiilian,  iSSo,  2  v.     Out  of  print. 

William  Blake  must  always  be  one  of  the  most  in- 
teresting tigurcs  in  the  history  of  art.  This  is  the  ac- 
cepted work  upon  him  and  his  art,  including  a  life  by  a 
sympathetic  biographer,  his  shorter  poems,  parts  at 
least,  of  his  larger  works,  and  a  great  many  reproduc- 
tions of  his  drawings  and  iirints,  soraelimes  full-sized, 
sometimes  reduced.  Blake  is  the  most  interesting 
artist,  of  purely  mystical  habit  of  mind  and  practice,  of 
all  modern  times.  700 


(G.A.S.) 
Y.,    Scrih- 


Gonse,  Lovils. 

EfC.f.NK  Kkomkntin,  I'AIMKI'  anh  Writkr. 
Trans!,  by  M.  C.  Kobbins.  Hust.,  Hough- 
ton, iS,S3,  83. 

This  book,  altlinugh  mainly  a  life  of  Froiiientin. 
containsloiig  passagesof  hiscritical  work.  In  Ch.ip.  \'. 
are  notes  for  lectures.  750.0 

Lks  CiiKKS-i)'(KrvRK  i>K  i.',\ki  at  XI.X. 
Sif.ci.K.  I„\  Scn.rirRF,  i-.r  i.a  CiR.wtrk  \t 
XIX.  SIF.CI.K.  Paris,  I.ibrairie  Illustrie, 
2f)  fr. 

This  work  belongs  to  the  scries  dtalogued  under 
the  names  of  Lefort,  I)e  I.ostalot,  Michel,  and  De 
Wyzewa.  This  volume  may,  perhaps,  be  the  most 
useful  and  the  most  welcome  to  .Vmericaii  readers  as 
containing  an  account  of  those  arts  of  which  t'.iey  see 
the  least.  The  very  important  sculpture  of  the  modern 
French  school  is  treated  here  with  great  intelligence. 
The  tone  of  criticism  is  very  just,  though  with  that 
tendency  toward  laudation  hai-il  to  avoid  in  tre.iting 
the  work  of  one's  strongest  contemporaries.  There 
are  twenty  full-page  jilates,  some  photographic,  and 
nearly  two  hundred  drawings  in  the  text.  750 

I.A  Scfl.l'Tl'RK  FraMJAISK  DKI'flS  l,r,  XIV. 
SiK,<'i.K.     Paris,  Ouaniin,  1895,  do  fr. 

An  historical  account  of  French  sculpture,  beginning 
with  the  appearance  of  the  Classical  taste  in  France, 
late  in  the  XV,  century.  For  Gothic  sculpture  and  the 
still  earlier  schools,  the  author's  work,  "L'.Art  Cioth- 
ique,"  may  be  consulted.  Beginning  with  the  masters 
of  the  reign  of  Charles  VIII,  and  Louis  XI  I,,  the  history 
unrolls  itself  to  our  own  time,  and  includes  artists  who 
are  still  young  men.  The  illustrations  are  of  great 
beauty  and  value,  735 

Gower,  Lord  Ronald. 

FlOIKK     PaINIKKS     o|-     HoI.TANIi. 

Lond.,    Low,    iSso,   3s.   dd.     N. 

ner,  81.25. 

An  interesting  inquiry  into  a  school  of  painting  not 
much  studied.  Dutch  landscape  painting  is  the  founda- 
tion of  modern  schools  of  that  art,  but  the  figure  paint- 
ing of  the  country  is  less  considered  than  it  should  be. 

750.0 

Grahame,  George. 

Ci.AiiiK  Lokrain,  Painter  and  Ftciiek. 
Portfolio  .Monograph,  March,  i>y5.  Lond., 
Seeley  ^:  Co.      N'.  Y.,  Macmillan,  75  c. 

Valuable  chiefly  for  illustrations  of  great  beauty. 
Ill  the  valuable  monograph  by  Mrs.  Mark  Pattison 
(now  Ladv  Dilkel  no  one  of  the  numerous  illustrations 
IS  comparable  for  be.auty  and  accuracy  to  some  of  these, 

750 

Gros,  /.<■  Jiitrou.     Sec  Dargenty,  G. 
Gruyer,  F.  A. 

La     PKINFfRK    W    ClIATEAl-     HE    ClIANTII.I.V. 

V.  L  Ecoles  etran^eres,  avec  40  heliog;ra- 
vures.  Paris,  Plon,  1S95,  40  fr. 
The  collections  at  Chantilly  have  doubled  in  value 
to  the  world  at  large  since  the  Due  D'.'\umale's  niag- 
niticent  gift  <if  the  palace  and  its  contents  to  the  people 
of  France.  This  book  gives  in  portable  form  some,  at 
least,  of  the  valuable  pictures  inc'iuded  in  the  collection. 
.Most  of  them  will  be  new  to  the  student ;  the  study  of 
art  can  be  imrsued  with  added  material  now  that  they 
are  made  accessible.  759.4 

\'ova<;k  AiTouR  Df  Sai.on  CarrJc  Af  Mis6e 
III'  LoiVRK.  Paris,  Firmiii-Didot  vS:  Cic, 
iS()4,  65  fr. 

A  collection  of  tine  photographic  plates  of  the  most 
important  pictures  in  the  famous  Square  Room  of  the 
Louvre  Gallery,  It  is  as  a  collection  of  works  of  art 
that  this  book  is  to  be  bought,  but  the  printed  comment 
IS  not  without  its  value  to  students.  759 

Guiflfrey,  Jules. 

Antoine  Van  Dyck,  sa  vie  et  son  fErvRE. 

Paris,  Quantin,  1S83,  100  fr. 

The  second  edition  of  a  book  printed  in  1881  in  folio 
with  etchings.  In  the  absence  of  a  thoroughly  critical 
life  of  Van  Dyck,  this  book  has  its  value,  although  the 


«4 


Painting  and  Sculpture, 


work  by  Michrels  is,  perhaps,  more  full  in  its  account 
of  the  artist's  work.  Illustrated  with  about  loo  prints, 
o(  which  about  one-third  are  separate  plates  and  of 
which  a  large  number  are  photographic.  750.9 

Haden,  Francis  Seymour. 

TiiF.  Etcuki)  Work  of  RF.MnRANDT.  Lotid., 
Macmillan,  iS^g.     Out  <jf  print. 

Originally  a  preface  to  the  catalogue  of  the  fine  col 
lections  of  Rembrandt's  made  for  t.'.hibition  by  the 
Burlington  Fine  Arts  Club,  in  1877.  The  catalogues  of 
the  Club  are  practically  out  of  reach  of  the  purchasing 
public,  this  preface  was  printed  by  itself  as  being  of 
permanent  value  Its  peculiarity  is  that  its  author  dis- 
putes the  authenticity  ol  many  prints  ordinarily  ascribed 
to  the  great  master  767 

Aboi'T  Etchint,.  Part  I.  Notes  on  a  collec- 
tion of  etchings  and  engravings  by  the 
<jreat  masters  lent  by  ^Ir.  I  laden  to  the 
Fine  Art  Society  to  illustrate  the  subject  of 
etching. 

Part  II.  An  annotated  catalogue  of  the  ex- 
amples e.xhibited  of  etchers'  and  painter- 
engravers'  work,  illus.  with  an  original 
etching  by  Mr.  Haden  and  15  fac-similes  of 
etchings.  Lond.,  The  Fine  Art  .Society, 
1879.  Published  at  2is.,  offered  by  bats- 
ford,  London.  iSs. 

An  admirable  corrective  of  some  of  the  too  hasty 
conclusions  drawn  by  writers  on  engraving  and  on  rare 
prints.  Mr.  Haden  is  a  practical  etcher  of  the  most 
refined  taste  and  with  great  practical  skill.  He  has 
made  a  very  large  collection  of  the  finest  prints  which 
can  possibly  be  obtained,  of  which  he  is  an  enthusiastic 
student. 

The  fifteen  illustrations  are  the  most  admirable  fac- 
similes of  ancient  prints  which  are  known  to  the  present 
writer.  The  originals  of  these  are  among  the  rarest 
and  most  precious  prints  in  existence ;  the  conies  here 
given  are  deceptive  in  their  accuracy,  except  tliat  111,  at 
least,  one  instance,  the  copy  is  slightly  enlarged.    767 

Hamerton,  Philip  G. 

Article  Dr.wvinc,  Encyclopaedia  Hritannica, 
9th  ed. 

A  very  instructive  paper  on  the  drawing  of  different 
epochs  and  different  nations,  with  valuable  critical  re- 
marks. 

Article    E\r,R.\v!Nc,,    Encyclopaedia    Hritanni- 
ca, Qth  ed. 
Very  full  and  instructive. 

These  two  articles  have  been  brought  together  with 
additions,  and  made  into  a  volume  under  the  title 
"  Drawing  and  Engraving,"  which  see  ne.xt  below. 

Dr.wvint,   anp    Encravint.,    with    Numerous 

Illustrations.     N.  Y.,  .Macinillan,  %-,. 

Consists  of  the  author's  articles  in  the  Rncyclop.Tdia 
Britannica,  qth  etl.,  with  some  additions,  and  with 
plates  which  greatly  increase  its  value.  760 

EiciiiNT.  AND  Etchers.     Host.,  Roberts,  $5. 

First  published  in  1866,  at  a  time  when  the  art  of 
etching  was  being  taken  up  by  many  painters  and  many 
engravers.  The  first  edition,  and  a  third  one  of  1880, 
were  costly  illustrated  books  A  second  and  cheaper 
edition,  with  illustrations  especially  meant  for  students, 
came  out  in  1876,  but  still  costs  a  guinea.  It  is  ex- 
tremely valuable  as  at  once  a  treatise  on  the  practice 
of  the  art  and  a  history  of  its  development  from  the 
15th  century  to  date.  767 

TiiK  Graphic  Arts.     Host.,  Roberts,  $2. 

A  series  of  descriptive  and  analytic  chapters  on  the 
diflerent  processes  of  drawing,  paintintj,  and  engrav- 
ing, mainly  practical ;  devoted  exclusively  to  those 
who  wish  to  learn  how  those  fine  arts  are  practised, 
what  their  necessary  limitations  are,  etc  .  these  persons 
only  can  ever  obtain  any  real  sense  of  fine  art.  The 
English  edition  contains  many  fine  illustrations,  and  is 
costly  (catalogued,  unpriced,  by  Seeley  &  Co.,  London). 
The  Boston  edition,  without  the  illustrations,  is  also 
valuable.  760 


Man  in  Art.  Sti'iuks  in  Rki.ic.ioi-s  and  His- 
roKUAi,  Art,  Portrait  and  (If.nrk.  Il- 
lustrated by  etchings  and  photogravures. 
N.  Y.,  Macmillan,  #30. 

Extends  the  subject  treated  in  "T'hc  Graphic  Arts,' 
and  analyzes  the  art  of  different  times  and  nations  with 
reference  to  the  way  in  which  the  human  boih'  and  llie 
human  face  expressions  have  been  treated  Tins  bonk 
IS  named  in  the  belief  that  a  cheaper  edition  may  .ip- 
peat.  750 

LANnscAPF.     Host.,  Roberts,  S2. 

Continues  the  subject  treated  in  "  The  Oraphic 
Arts,"  and  contains  a  very  full  account  ol  landscape 
art,  its  purpose  and  history,  and  us  char.icter  as  prac- 
tised by  different  nations  at  diffeient  times.  The  orig 
inal  edition  has  about  fifty  large  illustrations.  (N  \., 
Macmillan,  §15).  758 

MoDFRN  Frfnciimen.     Host,  Roberts,  f2. 

Contains  biographies  of  Francois  Rude,  the  sculp- 
tor, and  Henri  Regnaiilt,  the  jiaintcr .  excellent  lives 
of  very  distinguished  men,  and  useful  to  the  stuilent  of 
art  as  artists  understand  and  feci  it  024.4 

LiFF  OF   I.   M.  W.  TiRNFR.     Host,   Roberts, 

t2. 

In  the  discussion  of  the  work  of  this  great  master 
many  valuable  truths  about  fine  art  are  explained  and 
insisted  on.  The  life  of  this  artist,  exclusively  devoted 
to  his  art,  is  very  instructive.  750 

Imacination  in  Landscapk  Painitnc.  Host., 
Roberts,  |2. 

It  IS  important  to  understand  the  relation  which  the 
artist's  mind  i)lays  in  the  deve'opment  of  landscape 
art,  for  students  are  apt  to  sup|)ose  that  in  this  art  at 
least  simple  copying  of  nature  is  nearly  everything 
Mr.  Hamerton  made  a  careful  study  all  Ins  life  of  tins 
important  subject ;  his  conclusions  arc  s^et  forth  in  this 
interesting  book,  which  contains  a  number  of  very  val- 
uable illustrations.  758 

TiiK  Etciiinc.s  df  Rfmhrandt.  Portfolio, 
Jan.,  1S94.  Lond.,  Seeley  \  C<j.  N.  Y., 
iVIacmillan,  75  c. 

A  well  arranged  and  useful  account  of  a  subject 
which  the  author  has  mide  peculiarly  his  own.  'The 
illustrations  are  numerous  and  very  good.  In  connec- 
tion with  this  may  be  read  Mr.  IJinyim's  account  of 
"Dutch  Etchers  of  the  XVII.  Century,"  Portfolio, 
Sept.,  1895.  The  two  books  form  a  good  introduction 
to  the  subject  of  metal  engraving  in  llie  north.        767 

Harper,  Charles  O. 

En(;i.isii  Pkn  Aritsts  of  To-Day  ;  examples 
of  'licir  V. ork,  with  soine  criticisms  and  ap- 
preciations. Illus.  N.  Y.,  Macmillan,  iS(;2, 
J20. 

As  a  collection  of  reproductions  of  contemporary 
work  in  black  and  white,  this  book  is  to  be  compared 
with  Pennell's  larger  work  mentioned  below.  The  re- 
productions are  perhaps  even  superior  in  Mr.  Harper's 
book.  Of  this,  as  of  the  other  work,  it  is  to  be  said 
that  the  admirable  illustrations  would  be  more  goner- 
ally  interesting,  and  even  more  useful  for  serious  study, 
if^their  original  purpose  and  intcatioii  had  been  ex- 
plained. 741 

Harrison,  Jane  E. 

iNiRoDrcroRY  Sti'dtf.s  in  Grekk  Art.  Il- 
lus.    N.  Y.,  Macmillan,  f2.25. 

Not  a  history  nor  a  classified  account  of  different 
schools,  but  an  essay  on  the  spirit  and  meaning  of 
(ireek  Sculpture.  The  author  states  that  she  is  trying 
to  express  the  ideality  which  she  finds  in  Greek  Art, 
but  it  is  a  mistake  to  assume  that  ideality  was  unknown 
in  the  art  of  other  ancient  peoples,  however  superior 
may  have  been  that  uf  the  Greeks.  700.38 

Hatton,  Richard  G. 

FiciRK  Drawinc.  and  Composition.  Illus. 
Lond,,  Chapinan  iN:  Mall,  iS(;5,  gs. 

A  useful  guide  for  the  student,  not  of  art  as  a  pur- 
suit to  be  followed,  but  of  works  of  art  to  be  studied  as 
we  study  literature.    The  difficulties  in  the  way  of  the 


■«. 


.■1 


Hi 


RKI.IC.IOt'S  AM)  lIlS- 
r    AM)    (iKNKK.       II- 

ind   phoiogravurcs. 

in  "*The  Graphic  Arts,' 
times  and  nations  with 
he  human  hocl\'  and  tlie 
een  treated  This  bonk 
;heapcr  edition  may  .ip. 
750 


rts,  ?«2. 

atcd  in  "  The  Tiraphic 
ill  account  ol  landscape 
us  character  as  prac- 
ffeicnt  times.  The  orig 
Ke  illustrations.  (N  \  , 
758 


ost,  Roberts,  fa. 

ini;nis  Rude,  the  sculp- 
painter .  excellent  lives 
I  useful  to  the  student  of 
el  It  024.4 

KK.     Host,   Roberts, 

Drk  of  this  (Treat  master 
ne  art  arc  explained  and 
rtist,  exclusively  devoted 
750 

'K  PAINTINf..       Host., 


d  the  relation  which  the 
ve'opment  of  landscape 
ipposc  that  in  this  art  at 
re  IS  nearly  everythintj 
study  all  his  life  of  this 
sions  arc  set  forth  in  this 
ins  a  number  ul  very  val- 
758 

IRRANDT.        Portfolio, 

L-clcv  iS:  Co.     N.  Y., 


ful  account  of  a  subject 
peculiarly  his  own.  The 
d  very  jjood.  In  connec- 
.Mr.  Ilinyon's  account  of 
II.  Century,"  Portfolio, 
form  a  (;ood  introduction 
intf  in  tlie  north.        767 


i-  To-Day  ;  examples 

me  criticisms  and  ap- 

Y.,  .Macmillan,  i8g2, 

uctions  of  contemporary 
s  book  IS  to  be  compared 
L-ntioned  below.  The  re- 
supenor  in  Mr.  Harper's 
er  work,  it  is  to  be  said 
ms  would  be  more  f;cner- 
e  useful  for  serious  study, 
1  intention  had  been  ex- 
741 


IN'  Orf.f.k  Art.     II- 


fied  account  of  different 
e  spirit  and  meaning  of 
ir  states  that  she  is  trying 
she  finds  in  Greek  Art, 
liat  ideality  was  unknown 
copies,  however  superior 
;:cks.  700.38 


ZOMPOSTTION.  Illus. 
ill,   1895,  9s. 

ident,  not  of  art  as  a  pur- 
rks  of  art  to  be  studied  as 
iculties  in  the  way  of  the 


Paiiithi^;^  and  Sculpture. 


25 


tigure  draughtsman  and  the  conventions  adopted  by 
artists  are  well  explained 

The  great  difficulties  which  attend  the  right  drawing 
of  the  human  figure  are  well  foi  even  the  theoretical 
student  ol  art  to  understand  ;  this  book  is  capab'c  of 
giving  to  such  a  student  a  sense  of  what  figure  drawing 
really  is.  707 

Havard,  Henry. 

La  I'i;iNTfRK  HoT.i.ANDAisE.  (H.K.H.A.)  Par- 
is, yuantin,  5  fr.  Transl.  I)y  (».  Powell  as 
TllK  UiTcii  Sciiooi.  Ol--  P.m'mini;.  N.  Y., 
Cassell,  1SS5,  §2.     Out  of  print. 

A  very  good  brief  history  of  that  great  school  of 
painting  upon  which  Knglish  painting  is  mainly 
foundcci,  and  which  has  strongly  influenced  French 
painting  of  the  XVIII  and  X I. \  centuries,  ihe  crit- 
ical remarks  are  generally  useful  as  guides.  750.0 

L'.XuT  F.T  I.i.s  Artistks  Hdi.i.ANDAis.  Paris, 
Quanlin,  1S79,  2  v.,  40  fr. 

A  treatise  on  the  art  of  Holland  larger  than  the 
fiandbook  of  the  W.  K.  H.  \.  series  and  devoted  toother 
arts  as  well  as  to  painting  At  one  time  of  his  life  Mr 
Hav.ird  made  a  special  study  of  the  I-ow  Countries, 
making  several  journeys  in  the  less  known  part  of  the 
■country  and  studying  the  people  and  their  ancient 
monuments  of  art  with  much  thoroughness.         750.0 

L'CEfVRK  t)K.  P.  V.  GaI-IAM).  Avcc  pres  de 
2oo|>lanches  inedites.  Paris,  Quantin,  1395, 
fjo  fr. 

Pierre  Victor  Galland  was  a  decorative  artist  of  very 
high  rank  ;  a  man  who  knew  how  to  combine  painting 
and  the  other  tine  arts  in  the  decoration  of  a  large  or 
small  apartment  or  a  series  of  rooms  or  halls,  and  who 
male  tins  his  principal  study,  while  at  the  same  time 
lie  was  a  modeller  and  a  painter  of  easel-pictures  of 
merit.  In  English-speaking  countries  this  use  of  all 
the  fine  arts  together  in  the  ornamentation  of  buildings 
IS  so  little  studied  that  the  work  of  such  an  artist  is  apt 
to  be  underrated.  It  is  the  more  important  that  Amer- 
icans should  inform  themselves  of  the  ways  of  work 
in  a  country  of  such  superior  achievement  as  modern 
France.  759.4 


Heaton,  Mrs.  Charles. 

CoNcisK  HisroKV  (II-  Painttnc.  New  ed.  re- 
vised by  Cosmo  Monkhouse.  (Bohn.)  N.  Y,, 
Macmillan,  1893,  f  i.jo. 

The  most  valuable  of  the  older  small  histories  of 
painting.  Mrs.  Hcaton's  book  has  been  entirely  re- 
vised, both  as  to  matters  of  f.ict  and  date  and  as  to 
critical  appreciation.  During  the  lifteen  years  between 
Its  first  appearance  and  the  publication  of  the  j)resent 
t'dition  both  the  history  and  criticism  of  art  had  been 
greatly  remade.  This  new  material  has  been  well  used 
by  the  eeuor,  '  750 


Hemans,  Charles  Isidore. 

A   UlsKlRY  111'    Mi'.KI.KVAI.  CHRISTIANITY  AND 

S.scRKi)  Art.     Lond.,  Williams  &  Norgate, 
1.S72,  2  v.,  iSs. 

The  work  of  an  enthusiastic  student  of  what  is  called 
sacred  art  in  Italy;  that  is  to  say,  the  painting  which 
has  Hiblical  or  legendary  church  history  for  its  subject, 
or  which  IS  in  some  kin  Ired  way  connected  with  the 
service  of  the  church.  The  book  is  interesting,  and 
capable  of  giving  much  aid  to  students  in  the  way  of 
suggestion  and  food  for  thought,  and  can  hardly  lead 
them  astray.  755 

Hiatt,  Charles. 

PiriiRF.    Posters,      Illus.      I.ond.,    George 
Hell  \  Sons.     N.  V..  Macmillan,  1S95,  ^3. 

The  poster,  or  the  illustrated  placard,  as  the  title- 

ne  has  It,  has  not  always  been  a  study  in  strong  colors 
at  tints.  There  have  been  many  different  attempts 
at  pictorial  art  applied  to  advertisement;  the  value  of 
this  book  is,  that  it  gives  somewhat  adequate  illustra- 
tion of  many  of  these  different  styles  of  work.  Well  up 
to  date. 

See  Nation,  Nov.  28,  1895,  P-  388.  740 


Hitchcock,  J.  R.  W. 

ETcfiiNi;  IN  Ameripa.  X.  Y.,  White,  Stnkcs 
it  Allen,  1SS6.     Out  <.f  print. 

Speaks  judicious'y  of  the  beginning  of  etching  in 
America.  The  art  was  more  in  vogue  ojfore  the  date 
of  this  book  than  it  has  been  since,  but  the  pause  in  its 
practice  and  intiuenc-;  can  only  be  temporary.  767 

Hogarth,  William.     .SV<'  Dobson,  .Austin. 

Holbein,  Hans.     .V,v  Cundall,  J.,  and  Mantz,  P. 

Homes  in  City  and  Country. 

Hy  RfssEi.i,  Sri-Riiis,  John  W.  Root,  Hritf. 
Prick,  Donald  (J.  MriciiKi.i.,  S.vmi  1.1.  P.\k- 
soNs,  Jr.,  and  W  A.  Linn.  Illus.  N'.  Y., 
Scribner,  1S93,  §2. 

The  articles  in  this  book  are  mentioned  under  the 
names  of  their  authors.  The  first  article  deals  with  the 
plan  and  arrangement  of  the  city  house  rather  than 
with  architectural  designing  728 

HSpfner,  Th. 

Dii".  Hf.ii.ickn  in  DER  CIIRISTI.ICHEN  Ki'NST. 
Leipzig,  Hreitkopf  iS:  HUrtel,  1S94,  marks 
?.5o. 

A  treatise  on  Christian  iconography,  to  be  compared 
with  the  works  of  Lord  1-inds.iy.  Mrs.  Jameson,  Canon 
Farrar  on  the  "  Life  of  Christ,  fJidron,  and  others.  It 
IS  good  to  study  this  subject  from  the  German  stand- 
point. 247 


Humphreys,  H.  Noel. 

Coin  Collector's  Manual:  Guide  to  the 
Numismatic  Student  in  the  Formation  of  a 
Cabinet  of  Coins.  Illus.  (Buhn.)  N.  Y., 
Macmillan,  2  v.,  $3. 

There  are  many  large  and  thorough  studies  of  nu- 
mismatics, both  in  English  and  other  languages,  but 
the  supply  of  inexpensive  books  and  of  those  that  may 
serve  as  introductions  to  the  subject  is  very  inadequate. 
This  book  is  almost  confined  to  the  Greek  and  Roman 
coins;  only  120  pages  are  given  to  the  whole  field  of 
post-classic  Europe.  There  is  a  great  deal  to  be  learned 
ifrom  it,  however,  and  it  contains  a  number  of  illustra- 
tions. See  also  Lenormant,  and  for  classical  antiquity, 
Gardner.  737 

Hunt,  William  M. 

Talks  on  Art.  First  and  second  scries. 
Host.,  Houghton,  2  V,,  $2. 

Scattered  remarks  noted  down  by  a  pupil  of  a  very 
able  painter  who  devoted  himself  also  to  teaching. 
Such  notes,  .separated  from  their  context  of  direct  per- 
sonal instruction  and  daily  intercourse,  can  have  no 
value  except  as  suggestions  and  as  stimulus  to  thought; 
in  this  respect  these  books  are  useful.  704 

Jaccaci,  August. 

Italian  Posters  and  Mi'sic-Rook  Coyers. 
In  "  The  Modern  Poster."  N,  Y.,  Scribner, 
1895. 

Completes  the  work  of  which  the  other  three  parts 
are  noticed  under  Alexandre,  Spielman,  and  Bunner 
The  five  illustrations  given  are  from  designs  by  Big- 
nami,  Puriati,  Mora  da  Hohenstein,  Menta,  and  Sarto- 
ris.  They  are  of  high  finish  and  great  elaboration  ; 
very  different  from  anything  of  the  modern  French 
school  and  proportionately  interesting  to  the  student. 
Mr.  Jaccaci  has  allowed  himself  but  a  few  words  in 
which  to  explain  the  peculiarities  of  this  branch  of 
Italian  art.  740 

Jackson,  John. 

Treatise  on  Wood-Engraytnt,,  Historical 
AND  Practical.  Lond.,  Charles  Knight  & 
Co.,  1S39;  H.  G.  Bohn,  1S61.     Out  of  print. 

Has  been  the  standard  for  many  years,  the  first  edi- 
tion having  been  printed  in  1839,  and  the  subsequent 


\)Hl 

I   ;■'■     I 


Piiintiii^^  aiiil  SciilhUirc. 


rh.m^rr'?  licinir,  in  tlip  main,  additinns  of  new  mailer 
not  worked  into  llic  Ixidv  nf  ttii'  Irxt.  It  is  It-ss  critical 
tlia;)  a  work  of  lo-ilay  would  haw  to  lie  lo  claim  no- 
tice, lint  i'  (oiitains  \\  crcat  I)  uly  <>•'  valiia'ilc  inlor- 
nialion,  with  niaiiv  i'lii-.tr.itions.  Ilclpful  if  used  in 
connection  with  the  sinaUer  Init  more  technically  e.xact 
hooks  mciuiuncd  under  the  nuines  uf  Cundull  aiid  I  jn- 
ton.  701 

Jameson,  Mrs.  Aniii). 

S.\rKi:ii  AM)  I,i:i;i:m),\rv  Aur  ;  ciliifil  with 
adililidiial  notes  by  Mslellc-  M.  Iliirll,  abini- 
(laiitly  illiisiraloil  willi  desiLcns  (rum  aiifii'iit 
anil  iniiiicTii  art.  Host.,  llouulitoii,  iSi)4, 
2  v.,  !if2.si),  rr  $f). 

Mrs.  Jameson's  work  on  tlic  treattnent  of  Hihlical 
and  let,'endary  persons  in  Christian  art  was  intended  to 
he  a  sini;lc  book  under  the  one  name  "  Sai  ri  il  and  Lcfj- 
endary  Art."  This  title,  however,  is  practically  limited 
to  the  lirst  two  vohinies,  which  deal  with  the  an^'cls, 
the  persons  of  tin?  New  Teslanient,  except  the  Saviour, 
the  \'iri;in  and  the  Saints,  whose  le^'ends  are  thou;;ht 
to  be  of  the  widest  interest,  such  as  the  Virtrin  M.irtyrs, 
the  Early  Hermits,  the  Doctors  of  the  Church,  etc. 
The  lc»,'endsof  the  Madonna  form  another  volume,  and 
the  legends  of  the  Monastic  orders  a  fourth.  I'inally 
Mrs.  Jameson's  notes  for  a  similar  history  of  the  Saviour 
as  represented  in  art  were  taken  up  by  I.adv  l'"astlakc, 
who  completed  the  work.  The  first  lour  volumes  have 
been  reprinted  with  revision  by  Kstelle  M.  Uurll. 

This  work  is  excellent  for  reference  in  the  matter  of 
rccot;nizin;.r  a  sacred  personaije  tiy  his  attributes  as 
niven  in  .i  picture,  and  as  to  the  jiroper  way  of  repre- 
sent in  r  e.icli  personage.  The  historic.il  part,  the  record 
of  thj  trrowth  of  the  legends  and  the  chan^'cs  in  them, 
is  very  imperfect,  but  no  better  book  is  readily  acces- 
i;i!>le.  The  author  had  no  threat  knowled^;e  of  art,  and 
her  criticisms  are  of  little  value,  Compare  what  is  said 
of  Lord  Lindsay's  book.  247 

I,i;i;kniis  ok  i  iik  M.vunwA;  edited  with  adili- 
tioiial  notes  by  Estellc  M.  Iltirll,  abundantly 
illustrated  willi  (lesitjiis  from  ancient  and 
modern  art.      Host.,  1  louu;hton,  1S94,  If  1.25, 

or  ?:,. 

See  what  is  said  above  under  "  Sacre  I  an  I  Legend- 
ary Art."  700 

I.i:i;km>s  r>|.'  Tin.-.  MoxASiic  Ounr.Ks;  edited 
with  additional  notes  by  Mstelle  M.  lltirll, 
abundantly  illiistraU'd  with  desiijns  from 
ancient  and  modern  art.  Host.,  lIou,ij:iiton, 
:>i)4,  $1.2?,  or  $3. 

See  what  is  said  above  under  "  Sacrerl  ail  Lej;end- 
ary  Art."  700 

ilisinin-  (II-  ()l  R  I, OKI)  AS  F.XI'.MI'I.iriKD  l\ 
WiiKKs  (iK  .\Kr.  Edited  by  I.ady  I^astlake. 
2d  ed.      X.  Y.,  Longmans,  1865,  2  v.,  !j8. 

See  \vh,it  is  sai  1  above  under  "  S,icred  and  Lcijcnd- 
ary  .Art."  This  book  has  been  carried  farther  in  the 
way  of  illustration,  and  is  a'so  much  more  elal)orate 
ancl  m;)re  of  a  permanent  work  on  the  subject  than  any 
1  therof  .Mrs.  Jameson's  treatises.  It  includesaccounts 
of  the  fall  of  man,  much  of  the  (lid  Testament  history, 
with  the  record  of  J  )l:n  the  Haptist  in  art.  the  Murder 
of  the  Innocents,  etc.;  and  finally  a  certain  amount  of 
leifpndary  matter  such  as  that  concerning  the  Sibyls 
the  history  of  the  Virgin  an.l  St.  Joseph.  232 

MkMOIRS  (IK  E.VKI.V  llAI.IAN  I'VINIKKS;  tlior- 
iJURlily  revised  and  in  part  rewritten  by 
r^stelle  M.  lliirll,  with  (12  portraits.  Host., 
HouKhton,  1S92,  $1.25,  or  $3. 

Orifjinary  of  little  value.  The  chanpcs  made  in  this 
new  edition  are  improvements  in  general;  the  book  is 
one  of  a.  number  which  serve  a  certain  purpose  in  re- 
lating the  better  known  facts  about  a  famous  body  of 
men.  750.5 

Jones,  H.  Stuart. 

.SEi.Kcr  I'assauks  krom  Anttfat  W'uitkks  Ii.- 

I.tSlRAl'IVK     DK     TIIK     HlSlDRY     OK     CiKKKK 

Sci'i.rirRK  ;    with    translation    and    notes. 
N.  Y.,  Macmillan,  1S95,  $2.25. 

Overbcck's  "  Antiken  Schriftcjuellen  zur  Geschichte 
der  bildenden  Ki'inste  bei  den  Greichen,"  published  in 
1868,  was  an  attempt  to  give  all  the  passages  in  the 


extant  works  of  ancie'it  writeriand  inscriptions  which 
bear  on  (Jreek  art.  The  present  work  is  a  selection 
of  the  most  important  and  most  interi'sting  of  these 
passages,  with  the  addition  of  some  which  have  been 
discovered  more  recently.  The  use  if  such  a  book  is 
mainly  to  show  the  student  how  sbghl  and  vague  is  the 
kiiowlidge  we  can  obtain  from  tie  famous  writers  of 
antii|uity  concerning  works  of  line  art.  and  in  this  w.t 
lo  elucidate  modern  arclutological  methuds. 


I  ;iy 
33 


Justi,  Kar}. 


*i 


1  iMi:. 
revised 
\-     Co. 


'raiisl. 

bv  the 

I'hil., 


DiKOo    \'KI  .V/.i.ilK/,    .\Mi     Ills 
by  I'rof.  ,\.    11.    Keane,  and 
aiilhor.      I. Olid.,    11.    (irevil 
I.ippiiii'otI,   1S811,  ^S. 

Jiisti's  lioo';,  in  the  German,  is  a  st.indar'l  of  excel- 
lence in  careful  biography  of  an  artist.  This  edition 
purports  to  be  a  close  translation  of  il,  and  has  a  few 
valuable  illustrations.  The  book  is  called  tedious  and 
hard  to  read  consecutive' y,  but  it  will  not  he  found  so 
by  a  person  interested  ii  lliis  man,  one  of  the  two  or 
three  greatest  painters  of  all  limes.  .Mr.  Stevenson's 
essay  should  be  read  in  connection  with  it  if  possible. 

750.0 

Karoly,  Karl. 

(itiiiK  TO  i'lii',  Pmni'Im.s  o|-  I'i.orkncI':  :  ;t 
Complete  1  listoriial  and  Critical  .\eiotint 
of  .All  the  Pictures  and  I'rescoes  in  I'lor- 
ence,  with  (.hiotiitions  from  the  Hest  .Au- 
thorities; .Short  Notices  (  f  the  Legends  and 
Stories  connected  with  them  or  their  Sub- 
jects ;  and  Lives  of  tiie  .S;iints  and  Chief 
PersoiKiLies  represiMited.  Illus.  I.ond., 
George  Hell  iV:  Sons.  N.  Y.,  Macmillan, 
I '^1)3,  !:i.?i). 

The  scope  of  this  l)ook  is  even  fuller  than  that  o.  its 
companion,    "The    I'.aintings  of  \'enice."     Compare 


w  hat  is  said  of  that  book. 


708.5 


(IriiiK  111  lllK  P.MNlINT.s  OK  \'f.NIck:  an  His- 
torical and  Critical  .Account  of  all  the  pict- 
ures ill  X'enice,  with  (Juotations  from  the 
best  .Authorities  ;  and  Short  Lives  of  the 
\'eiietian  .Masters.  Illus.  Lond.,  Cieor>',e 
Hell  i'^  Sons.     N.  Y.,  ^Licmilhm,  iSi)5,  51.50. 

The  title  explains  the  object  of  this  book.  Its  ob- 
vious fault  IS  in  the  use  of  criticisms  by  writers  taking 
absolutely  contrary  views  of  art,  and  by  some  writers 
who  have  given  no  attenti:in  to  art  at  all,  so  that  the 
standard  if  judgment  applied  to  one  picture  is  not  that 
applied  to  another.  John  Kuskin,  <  rowe  and  Caval- 
caselle.  Sir  M.  A.  Layard,  Sir  A.  Hume,  W.  D.  How- 
ells,  Charles  Ulanc,  .Mrs.  Oliphant,  Mcrnhard  Herenson, 
and  Sir  Charles  ICastl.ike— it  is  only  necessary  lo  men- 
lion  such  a  list  of  soiirces  to  show  how  valueless  is  the 
comparative  criticism  ol>tained.  Historically  and  as  ,1 
work  of  reference  the  book  has  great  value.         708.5 

Rm'iim'i.'s  M.\I)onn\s  .\mi  OriiiR  (■iUK.\r 
I'll  riKKs  ;  reproduced  from  the  origin. d 
p.iintings,  with  ii  life  of  Raphael,  and  an 
account  of  his  chief  works.  Illus.  Lond., 
(Jeo.  Hell  I'v:  Sons.      N'.  Y.,  .Macmillan,  1S94, 

The  plates  in  this  volume,  numerous  and  good,  give 
an  erceellent  idea  of  so  much  of  Raphael's  art  as  is  apart 
from  his  great  wall-paintings,  'riiose  wall-paintings 
are  of  cour>e  the  really  immortal  and  in  their  way  un- 
equalled part  of  his  work;  Init  the  easel-pictures,  and 
esiiecially  the  Madonnas,  will  always  be  most  gener- 
ally popular.  Compare  what  is  said  of  the  work  of 
Jufia  Cartwright  above.  700 


Keene,  C.  S.     .V.v  Layard,  ('■ 


S. 


Eoehler,  S.  R. 

IvrciiiNi;.  .An  outline  of  its  technical  proc- 
esses and  its  history,  with  some  remarks  on 
collections  and  collecting.  Illustrated  1  y 
30  ])lates  by  old  and  modern  etchers,  and 
numerous  reproductions  in  the  text.  N.  Y., 
Cassell,  S20. 
"  A  sumptuous  volume.*  767 


1(1  inscriptions  wliici) 
work  is  a  sclfclioii 
iiiliTcsliiit,'  of  tlirso 

inc  wliiili  liavi-  hici) 
of  siiili  a  honk  is 

i^'lit  ami  vayiii'  is  tin- 
ic  laiiious  writers  of 
an.  and  in  tliis  wav 

mctliuils.  733 


I'lMi:.  'I'l-.iiisl. 
1  n-visid  |.v  ilic 
i    vV    (■(..      IMiil., 


a  standard  of  oxccl- 
art'^I.  'riiiscilitioii 
(if  it,  and  lias  a  few 
is  called  tedious  and 
will  not  be  lotind  so 
n,  one  of  lli(>  two  or 
Mr.  Stevenson's 
\vitli  It  if  pussiMe. 
750.0 


!■  I'r.OKKNCK  :  ;t 
Critical  .\cciiiiiit 
1  rtsciic's  ill  I"l(ir- 
iin  thi-  licst  Aii- 
iIk'  Lcucnds  and 
cm  or  tlu'ir  Siib- 
.Saiiits  and  Chief 
llliis.  I.diid., 
Y.,    Macinillaii, 

fuller  than  that  o.  its 

\'enite."      ("omp.ire 

708.5 

Vf.nk  r.:  ;iii  llis- 
iit  <if  all  till'  pict- 
itatidiis  from  the 
uirt  Lives  (if  ihc 
I. mid.,  Cii'()r>;c 
lillari,  l>i)5,  ?l.5(j. 

if  this  l)onk.     Its  oh- 
ms by  writers  takini; 
and  by  soinc  writers 
art  at  all,  so  that  the 
ne  picture  is  not  tliat 
1,  (  rowe  and  Caval- 
Ilume,  \V.  n.  How- 
Mcrnhard  Herenson, 
ily  necessary  lo  men- 
how  valueless  is  the 
Historically  and  as  a 
ual  value.         708.5 

I  OlIII.K  (Ikkat 
mil  the  (iritjinal 
Raphael,  atul  an 
llliis.  I.oiid., 
.Maciiiill.-m,  lS(j4, 

■rous  and  pood,  Rive 
[iliael'sart  as  is  apart 

hose  wall-paintnif;s 
and  in  their  way  ini- 
-'  easel-pictures,  and 

ays  he  most  ^jencr- 

iaid  of  the  work  of 

700 


s  terhnical  proc- 
^"iiie  remarks  (m 
Illustrated  1  y 
ern  etchers,  and 
the  text.     N.  Y., 

767 


Painting  and  Sculpture, 


^7 


(H.K.M.A.)    V.il.  1. 


La  Farge,  John. 

CoNsiix.KA  riiiNs  ON  Paintint.;  Lectures  Kivcii 
in  lS()3  at  the  Melropolitan  Mtiseiiin  of  New 
York.     \.  Y.,  .Macniillan,  |S()?,  ft. a;. 

The  reader  of  thes ;  lectures  will  fed  a  certani  <lis- 
appointment  when  he  notices  that  he  forKets  the  con- 
tents of  (me  pavfo  as  lie  bi'^ins  the  next,  and  that  it  is 
very  hard  to  recall  the  thread  of  thought  or  even  the 
(,'eneral  plan  of  a  lecture.  The  style  is  pictures(|ue  and 
vivid,  and  the  book  is  as  interestin).;  as  writinn  upon 
such  a  subject  can  possibly  be  made;  therefore  the 
reader  will  tind  that  easy  and  pleasant  which  it  is  alto- 
jjether  advisable  to  unlertakc— namely,  the  careful  re- 
realin(;of  tiie  text.  To  iMr.  I.a  Kartje,  an  accomplished 
artist  Ml  the  maturity  of  his  powers,  and  a  life-lonj; 
student  of  the  theory  (f  art,  ttiere  is  nothing  so  posi- 
live  in  art-criticism  or  art-laws  that  it  can  be  stated 
sharply  in  a  few  words.  Profound  truth  in  line  art  has 
to  be  suKKCsted,  not  asserted,  and  the  student  must  tit 
his  mind  tu  grasp  the  full  value  uf  the  sut'^estiuns  here. 

704 

Lafenestre,  Qeorges. 

La  I'kin  riKK  1 1  ai.iknnk 
Paris,  yuantiii,  5  fr. 

Only  the  first  volume  of  this  valuable  handbook  has 
ajipeared.  It  includes  the  history  to  the  close  of  the 
X\  .  century.  The  illustrations  are  sinyuiarly  well 
chosen,  and,  in  spite  of  their  small  size,  very  instructive. 

759.5 

Lafenestre,   Georges,   r/   Richtenberger,   Eu- 
gene. 

Lk  MisfiF.  N.MioNAi.  iif  LiiiVKK.  Paris, 
yuantin,  lo  fr. 

A  volume  of  j3o  pages,  with  ico  photographic  plates, 
of  no  great  merit.  It  is  devoted  entirely  to  a  catalogue 
of  the  paintings  in  the  Museum,  arranged  according  to 
the  (iaileries,  and  made  accessible  by  an  index  in  which 
the  artists'  names  are  alphabetized  under  the  different 
schools.  It  is  wholly  a  work  of  reference,  but  as  each 
title  is  accompanied  by  a  description  of  the  picture  and 
a  brief  sketch  of  its  history,  the  book  is  useful  to  all 
who  are  studying  painting  in  any  systematic  way. 

708.4 

La   Pkimikk.   k\   Kikoi'K.      Paris,  Quantin, 

iS()5. 

I'nder  this  general  title  a  scries  of  books  are  appear- 
ing, one  of  which,  that  having  to  do  with  the  Louvre, 
IS  described  above.  That  on  Belgium  and  that  on  Flor- 
ence have  also  appeared  tOct.,  1896).     10  fr.  each. 

750 

Lar.dseer,  .S'/r  Edwin.     .SVi'  Swectser,  .M.  1". 

Lanzi,  I' Ahhc  liUigi. 

IIisidiKK  UK  I.A  Pkinhrf.  f.\  Itai.tf..  Paris, 
II.  Seijuin,  1S24,  5  v.     Out  of  print. 

This  celebrated  writer  wrote  before  the  foundation 
of  modern  archaeological  science  ;  his  work  needs  lo  be 
checked  by  later  and  more  severe  invcstijjators.  This 
book,  however,  remains  a  classic.  The  I'rench  trans- 
lation IS  much  better  known  than  the  Italian  original. 

750.5 

Layard,  George  Somes. 

LlFK      AM)      LkITF.KS     OF      ClIART.FS     SAMfEI. 

Kf.ene.    Lond.,  Sampson  Low,  i8(j2,  12s.  Od. 

This  life  of  the  great  artist  in  black  and  white,  the 
best  man,  probably,  that  ever  worked  for /'axcA,  should 
be  compared  with  the  "  Life  of  Caldecott,"  by  Hen- 
ry Blackburn,  and  Spielman's  "History  of  Punch." 
Charles  Keene  was  a  man  of  groat  and  peculiar  genius, 
and  the  reader  will  understand  that  the  fact  of  his  work 
being  in  small  and  black  pictures  instead  of  large  and 
colored  ones  in  no  way  lowers  their  standard  as  works 
of  original  genius.  741 

Lecomte,  Georges. 

L'AkT  LmI'RF.SSIONNISTF.  D'AI-RKS  i.a  COLLEC- 
TION'    TRIVKE     I)E     M.     Dt;RANI)-Rl'EL.        36 

Eau.N-Fortes,  pointc-seches  et  Illustrations 
dans  le  texte  de  A.  M.  Lauzet.     N.  Y.,  I)u- 
rand-Ruel,  iS()2,  $10. 
It  is,  perhaps,  too  early  to  compose  a  general  trea- 


tise on  "  Impressionism."  This  volume  containi  an  ac- 
count of  the  leading  painters  of  that  school.  Degas, 
Manet,  Monet,  I'iss.iro.  Sisley,  and  others,  and  the 
sculptor  Kodin.  Illustrations  in  b'ack  and  white  can 
give  but  a  slight  idea  of  the  paintings  which  they  are 
supposed  to  rej)resent.  It  is  desiratile,  therefore,  that 
a  cheaper  edition  without  the  illustrati(ms  should  be 
offered.  Moreover,  .as  the  artists  who  have  built  up 
this  powerful  school  are  still  for  tl^e  most  (lart  living, 
better  works  on  the  general  subject  may  he  expectc(T; 
but  every  student  of  art  ought  to  know  something  of 
impressionism,  for  there  is  no  school  of  our  day  so 
original,  and  few  so  powerful  and  suggestive.     7d0.4 

Lecoy  de  la  Marche,  Albert. 

I.Es  .ScEAix.  (M.K.M.A.)  Paris.  Quantin, 
i8,S(;,  5  fr. 

The  study  of  seals  i<  closely  akin  lo  that  of  coins 
and  medals.  It  is  to  be  observed  that  the  sculptor  in 
either  case  engraves  in  the  hollow  or  in  the  sunken  die, 
in  intaglio— as  the  phrase  is  taken  from  the  Italian. 
In  the  case  of  seals  the  impression  is  taken  from  this 
die  in  some  soft  material ;  in  the  case  of  coins  and 
medals  it  is  taken  in  metal  and  with  very  (jreat  pressure. 

Historically  seals  are  of  great  value  in  the  way  of 
dating  other  important  works  of  art,  because  they  very 
commonly  bear  the  exact  date  of  their  execution,  or 
lacking  this,  they  often  contain  portraits  of  sovereigns, 
with  their  names  and  titles,  and  are  thus  capable  of 
being  dated  accurately.  They  are  valuable  also  for 
costume,  including  armor  and  royal,  noble,  and  clerical 
insignia.  Compare  what  is  said  of  Mr.  Dcmay's  book 
in  Part  IV.  029.8 

Lefort,  Paul. 

Les  CiiKKs-n'fEi'VRE  DE  L'Art  Af  XIX.  Sif:- 
ci.K  La  Pkinii're  Fran(,aise  aciiei.i.e. 
Paris,  Montwrcdien,  Librairie  Illustrfee, 
2f)  fr. 

Belongs  to  the  series  catalogued  under  the  names 
of  Gonse,  De  Lostalot,  Michel,  and  De  Wyzewa.  It 
IS  a  very  good  account  of  French  painting  from 
about  1870  lo  the  present  time.  During  these  years 
very  important  growth  and  development  has  marked 
the  state  of  painting  in  France,  and  the  reader  is  re- 
minded that  the  more  recent  the  artists,  the  less  is  to  be 
found  concerning  them  and  their  works  in  the  accessible 
books  of  reference.  759.4 

La  Peini  t  RE  Esi'A(;n()I,e.  (M.E.H.A.)  Paris, 
yuantin,  5  fr. 

Undoubted  I  y  the  best  account  of  Spanish  painting 
procurable  in  a  very  small  volume  and  at  a  low  price. 
It  begins  with  the  Manuscript  decoration  of  the  early 
Midclle  Ages.     Its  tone  of  criticism  is  just  and  equable. 

759.6 


VEI.ASOfEZ.        (L..\.C.) 

I'.Art,  tS,S8,  fr.  S.50. 


Paris,    Librairie   de 


Mr.  Lefort  has  given  special  attention  to  Spanish 
painting,  and  this  brief  biography  of  Velasquez  is 
worthy  of  careful  comparison  with  the  more  recent 
works  by  Armstrong  and  Stevenson,  and  the  larger 
ones  by  Justi  and  Maxwell.  769.6 

Leighton,  Sir  Frederick.     .SVi   Rhys,  E. 

Lenormant,  Fran9ois. 

MoNNAiEs  El' M6i)Aii.i.Es.    (H.E.H.A.)    I'aris, 
yu.tntin,  5  fr. 

By  an  archxologist  of  excellent  standing,  recently 
deceased.  He  had  given  especial  attention  to  numis- 
matics and  the  study  of  medallions,  and  is  the  author 
of  important  works  on  these  subjects.  See  also  Hum- 
phreys. 737 


Leonardo. 

ser,  M. 


.sv 

F. 


Kichter,  Jean  Paul,  aiiJ  Sweet- 


Lindsay,  /.orit. 

Skeiches   ok  the    History  of  'Christian 
Art.     Lond.,  Murray,  1S86,  2  v.,  24s. 

This  work,  which  was  intended  to  treat  of  the  re- 
ligious meaning  and  the  sentiment  of  Italian  painting, 
was  never  carried  beyond  the  time  of  Fra  Angelicc. 
Its  tone  of  discussion  is  extremely  delicate  and  just.  It 
IS  to  be  compared  with  such  a  book  as  Rio's,  and,  for 
its  account  of  Christian  myths,  and  their  significance, 
with  Mrs.  Jameson's.  247 


!lli 


\    It     ■ 


28 


Painting  and  Sculpture. 


liinton,  W.  J. 

\V()<)I)-EN(iKAVINn 


A  Mam'ai,  of  IvsTRrc 


■HON.     Illus.     N.  Y.,  Macmillan,  $3. 

By  one  of  the  most  able  and  truly  artistic  engravers 
of  modern  times  on  his  own  art,  its  technicahtiesand 
true  nature,  and  its  history.  Mr.  I.inton  is  one  of 
those  very  few  artists  who  know  how  to  write  upon 
art.  In  readinK  his  work  one  learns  not  only  much 
about  wood -engraving  but  also  tnuch  about  urt  as  the 
artist  sees  it.  761 


Lorrsdn,  Olaude.  .SV,'  Grahame.  O.,  Michel, 
Kniil  ;  I'allison,  Mrs.  Mark,  </«f/ Swcctscr, 
M.  F, 

Low,  Will  H. 

A  Ck.miky  <iI'  Paintinc.  McCllir,'>.  Ma:.;a- 
ziiu\  N.  Y.,  S.  S.  McClurt'  Co..  12  ikjs., 
$1. 

This  series  of  papers  began  Dec.,  1895,  was  continued 
to  Oct  ,  1896,  inclusive,  and  concluded  .Apr.,  1897  It 
forms  a  consecutive  account  of  the  painting  which  has 
us  centre  in  Pans  during  the  hundred  years  endini;  m 
1890  or  thereabout.  Mr.  Low  is  an  American  painter 
of  reputation  and  ability,  of  Parisian  teachinj;  but  now 
for  many  years  a  resident  of  New  V'ork.  His  articles 
are  illustrated  by  a  great  number  of  tolerably  success- 
ful half-tone  prints.  760.1 

JkAN  LkoN  fiKRoMK:  MaIKICK  UnlTKl  UK 
MoNVKI,. 

In  "  Modern  French  Masters." 

V'ery  careful  reading  will  interpret  Mr.  Low's 
guarded  expressions  of  opinion,  which  opinion  is  alto- 
gether wortli  having  when  it  is  found.  That  (li'rome 
IS  not  much  of  a  painter  but  a  very  powerful  illustrator, 
th:it  IS,  a  story-teller  and  even  a  historian  in  line  and 
color,  IS  an  important  fact  which  the  author  of  these 
notices  lets  us  see,  although  he  does  not  say  it  in  any 
one  place  very  plainly.  As  for  the  less  known  artist 
who,  although  working  as  an  illustrator,  is  really  an 
artist  pure  and  simple,  Mr.  Low's  paper  is  almost  the 
only  information  about  him  which  is  easily  accessible  ; 
Us  accuracy  and  precision  of  statement  leave  nothing 
to  be  desired.  769.4 

liilbke,  Wilhelm. 

Gksciiiciitk  der  Itai.ienischf.n-  Mat.frf.i. 
StuttRart,  Ebncr  iS:  Seubcrt,  187S,  54  marks. 

First  published  in  1878  ;  docs  not  replace  any  of  the 
other  rather  numerous  works  on  the  same  subject,  but 
lias  its  value,  and  should  be  added  to  a  library  at  all 
rich  in  works  on  Fine  Art.  735 

Macklin,  A\-v.  Herbert  W. 

Mo.m'mkntai.  Brasses.  Illus,  I.ond.,  Swan 
Sonnenschein  ..V  Co.,  1S90,  3s.  6d,  N.  Y., 
Macmillan,  Si. 25. 

England  is  richer  than  the  countries  on  the  Conti- 
nent in  the  engraved  metal  plates  which  formed  the 
most  ornamental  part  of  media;val  tombs.  These 
plates  are  deeply  engraved  with  figures  of  knights  in 
their  armor  and  ladies  in  their  more  splendid  dresses  ; 
the  study  f)f  the  history  of  costume  owes  much  to  them. 
The  inscriptions  are  often  of  historical  interest  and  the 
engraving,  though  simple,  is  well  worthy  of  study  as  a 
branch  ofthe  decorative  art  of  the  time.  247.3 


Mangeant,  P.  H. 

Antoink  Etex,  Peintre, 
cm  TEC TE.  N'crsaillcs,  1', 


Scfi.rTErR  ET  Ar- 
E.  Mangeant,  1S95. 


Ete.x  is  the  celebrated  sculptor  of  one  of  the  great 
groups  on  the  Arc  de  I'Etoile.  He  is  far  better  known 
as  a  sculptor  than  in  any  other  way  ;  his  active  career 
lasted  through  the  reigns  of  Louis  Philippe  and  Napo- 
leon IIL  700 

Mantz,  Paul. 

Hans  H<ii.hein  :  Dessins  ct  Rravures  sous  la 
direction  de  Edouard  Li6vre.  Paris,  Quan- 
tin,  1879,  100  fr. 

This  Life  of  Holbein  is  by  a  competent  writer;  the 
illustrations  are  very  numerous  and  useful,  though  not 
generally  photographic.     Mr.  Lievre  ii  well  known  as 


an  etcher  of  merit  who  has  made  it  his  peculiar  task  tn 
reproduce  with  extreme  accuracy  ancient  works  of  art. 


especially  decorative  pieces 
him  well  for  producing  tht 
Holbein's  paintings  and  drawings 


His  training  has  title  I 

the  close  copies  required  (or 

700 


Franiwiis  HmciiER,  I.emovne  ei    Nakhre. 
I'aris.  Quantin,  iSSo.  100  fr. 

Ilouchcr  IS  the  best  known  of  the  painters  of  the 
reign  of  Louis  XV.  His  pictures  form  an  important 
part  of  the  rich  decoration  of  the  interiors  which  we 
now  call  "  rococo  "  and  "  Pompadour  "  .  they  appear  an 
panels  above  doors  or  in  the  large  coves  at  the  top  of 
walls,  as  well  as  separately  framed  like  what  arc  called 
easel-pictures  He  is  eminently  a  decorative  artist,  and 
the  dainty  ornament  of  the  time  would  hardly  have 
been  all  that  it  was  without  his  aid.  The  illustrationH 
to  this  volume  are  very  numerous,  mostly  etchings  after 
the  artist's  paintings,  though  a  few  are  his  original 
work  Lcmoyne  and  Natoire  are  less  known  atlists  of 
the  same  period.  Ily  far  the  greater  part  of  this  volume 
and  nearly  all  the  illustrations  are  devoted  to  Houcher. 

750  4 


iiic/  Frothingham,  Arthur 


Marquand,  Allan, 
L. 

HisioRV  OF  Sci  i.i'it  RE.     N.  Y.,   Longmans, 

iS(/),  S1.50. 

One  of  the  Series  of  College  Histories  of  Art.  see 
under  Hamlin  and  Van  Dyke.  In  spite  of  the  title  it  is 
devoted  to  European  sculpture  exclusively,  and  that 
since  the  beginning  of  historical  times.  It  is  illustrated 
by  113  half-tone  prints,  and,  as  in  the  other  volumes  of 
the  series,  each  chapter  is  headed  by  a  bibliography 
and  is  closed  by  other  useful  information  in  concen- 
trated form.  There  is  also  a  table  of  the  addresses  of 
makers  of  photographs  and  plaster  casts:  a  really  in- 
valuable help  to  the  student  in  this  country.  The  two 
authors  are  scholars  of  the  right  sort ;  each  in  his  way 
as  thorough  and  careful  as  could  be  desired — systematic 
and  critical.  730 

Marx,  Roger. 

Henri  Re(;nat'i.t.    (L.A.C.)    I'aris,  Librairie 
de  I'Art,  1.S86,  7  fr. 

Regnault  was  alrc.idy  famous,  and  deservedly  so, 
when  at  the  age  of  twenty-eight  he  was  killed  during 
the  tights  before  Paris.  His  most  celebrated  picture  is 
the  portrait  of  .Marshal  Prim  now  in  the  Louvre.  This 
volume  contains  a  number  of  successful  illustrations. 

759.4 

Mason,  Oeorge  C. 

Life  and  VVokks  nv  Gii.her  1  .Sitart.    N.  Y., 
Scrihner,  1879,  Sio. 

For  Americans,  .Stuart  has  a  peculiar  value  beyond 
his  artistic  merit,  though  that  is  considerable.  The 
book  before  us  contains  ten  photographic  copies  ol 
portraits  by  the  artist,  besides  the  two  of  the  ''GibI  s 
VVashington  "  and  two  portraits  of  Stuart  himself.  The 
text  IS  interesting  biographically  and  historically. 

759.1 

Mesnard,  Leonce. 

La  Peini'ire  a  Sienne. 


Paris,  1S7S.     O.P. 


The  Sicncse  School  has  a  value  in  early  Italian  paint- 
ing mor.;  nearly  equal  to  that  of  the  Florentine  Schoo' 
than  readers  of  Vasari  are  led  to  suppose.  This  booV 
partly  corrects  the  erroneous  impression  referred  Vi 
and  is  of  general  value  in  the  history  of  the  art. 

759.5 

Michel,  A.idre. 

Les    CiiEis    iTCErvRE   HE   L'Art  ai'    XIX. 

.SlEtI.E.        L'ElOI.E   FraN(,A1SE   de    IN(!RES    \ 

Delacroix.     Paris,  MontRredien,  Librairie 
lUustree,  26  fr. 

Belongs  to  the  scries  catalogued  under  the  names 
of  (ionse,  Lclort,  De  Lostalot,  and  De  Wyzewa.  It 
covers  what  may  be  called  the  earliest  epoch  of 
modern  French  painting,  namely  from  about  1770  to 
the  beginning  of  the  contest  between  the  Classic  and 
Romantic  Schools.  It  is  valuable  in  itself,  but  its  pe- 
culiar importance  is  as  a  prelude  to  the  works  by  De 
Lostalot  and  Lefort.  7o0.4 

Michel,  Emil. 

Remhrandt:  His  Life,  His  Work,  and  His 
Time.     Transl,   from  the   French  by  Flor- 


i;!i  " 


I'ttintini^  and  Sculf^turc. 


29 


■  II  hn  peculiar  tasU  to 

■  ancient  workHol  art, 
lis  iruininK  has  title  I 
se  copici  required  for 

7«0 

vsi,   v:\    Naioirk. 

fr. 

(  the  painters  of  the 

cs  form  an  important 

tie  interiors  which  wc 

(lour  "  .  they  appear  aw 

(,'e  coves  at  the  top  of 

(I  like  what  arc  called 

decorative  artist,  and 

e  wiiiild   hardly  have 

id.     The  illustralinnii 

mostly  etchings  after 

fi'w  are  his  nriKinal 

•  less  known  ailixtsof 

ler  part  of  this  volume 

devoted  to  Houcher. 

759  4 

hingham,  Arthtir 

S.  Y.,    l.(jnKin:ins, 

Histories  of  Art ,  see 
n  spite  of  the  title  it  is 
exclusively,  and  that 
imes.  It  IS  illustrated 
1  the  other  volumes  of 
ed  by  a  bibliography 
formation  in  concen- 
le  of  the  addresses  of 
ter  casts:  a  really  in- 
lis  country.  The  two 
sort ;  each  in  his  way 
)e  desired— systematic 
730 


)    I'aris,  Librairie 

i,  and   deservedly  so, 
he  was  killed  during 

t  celebrated  picture  is 
in  the  Louvre.    This 

cessful  illustrations. 
769.4 


tSti-art.    N.  v., 

leculiar  value  beyond 
>  coniiderable.  The 
otographic  copies  ol 
e  two  of  the  ''GibI  s 
Stuart  himself.  Tlic 
nd  historically. 

759.1 


ris,  1S7S.     O.P. 

in  early  Italian  p.iint- 
ie  Florentine  School 
suppose.  This  boot 
prcssion  referred  t'l 
iry  of  the  art. 

759.S 


L'Akt  ai-    XIX. 

ISK   DK    IncKKS    a 

[redien,  Librairie 

ed  under  the  names 
lid  De  Wyzcwa.  It 
•■  earliest  epoch  of 
from  about  1770  to 
•cen  the  Classic  and 
in  itself,  but  its  pe- 
to  the  works  by  I)e 
759.4 


Work,  and  His 
Fretich   by  Flor- 


ence .Simmonds,  edited  liy  Trederitk  Wed- 
more,  Lond.,  Wm.  Meinemanii,  1894,  2  v., 
42s. 

A  thorouffh  .ind  valuable  treatise  nf  the  life  and  works 
of  one  of  the  ureatesl  painters  of  Kuropc,  who  is  also 
the  recognized  chief  of  all  etchers,  past  and  present 
The  French  original  is  a  large  and  handsome  t)ook  with 
many  illustrations;  the  Kn||flish  translation  is  made 
slill  more  showy  and  expensive,  and  has  added  plates 
'J'licse  costly  monographs  often  contain  so  much  that  is 
valuable  to  the  student  that  they  require  special  men 
lion,  and  this  is  one  o(  the  best  of  them  There  is  a 
smaller  work  by  the  same  author  in  the  scries  called 
Les  Artistes  Ctilibres,    (Paris,  Librairiu  dc  I'Art,  H  fr.) 

759.0 

^Ti'nr.s  sfR  i.'lIisTniRF.   ni-.  i.'Art.    I)ik(;(( 
Vh;i.ASi.iiF./;  Lks  DftiuTs  wv  I'avsai;!-,  h.sns 

I.'KcilI.K  ri.AMAMiK,  Cl.AlDK  I.iiKKAlN  ,    I.KS 

Akis  a  I, a  CntR  DK  FRfiDftRic  II.  I'aris, 
Haihette,  iS()5,  fr,  3.50. 

Separate  monographs  by  a  very  competent  writer 
made  into  one  volume,  750.6 


I'.VKS.     I'aris,  Renoiiard, 


1^1, 


MichielH,  Alfred. 

Van  Dyik  i-.i  sks  Ki 
iS.Si,  20  fr. 

Has  a  number  of  engravings  after  Van  Dyck,  and 
five  excellent  fac-similes  of  those  remarkable  etchings 
of  his,  which  command  the  admiration  of  all  artists  and 
are  rare  and  of  great  value  in  their  best  condition. 

Not  cxitctly  a  critical  work ;  but  the  information 
given  of  the  surroundings  of  the  painter,  the  condition 
of  the  societies  in  which  he  liven,  and  the  char.ictcrs 
«)f  the  men  with  whom  he  associated,  is  very  full  and 
valuable  as  a  preparation  for  the  understanding  of  the 
remarkable  art  of  the  painter,  750.9 

Middleton,  J.  Henry. 

Enuravkd  Gkms  I  IK  Ci.AssiCAi,  Times,  with  a 
catalogue  of  the  (leiiis  in  the  Fit/williatn 
Museum,  Cambridge,  \.  Y.,  Macmillan, 
i.S(ji,  83.50. 

The  matter  of  engraved  gems  is  so  very  important 
to  the  student  of  ancient  art  and  of  decorative  art  that 
he  may  well  wish  to  go  farther  than  the  little  hand- 
hooks  of  Mabclon  and  Lecoy  dc  la  Marche  can  take 
him.  This  book  by  an  excellent  all-round  student  of 
art,  recently  deceased,  will  be  found  of  the  very  highest 
value,  and  in  general  seems  to  be  based  on  a  close  per- 
sonal knowledge  of  the  worksof  art  described.  Cameos 
or  gems  carved  in  relief  are  treated  as  well  as  those  en- 
graved as  for  seals.  730 

Article  Sniooi.s  nr  I'AiNirNc,  F.iicyclop.-edia 
Hritannica,  9th  ed. 

Gives  brief  accounts  of  all  the  principal  schools  and 
names  all  the  greatest  masters.  Many  illustrations. 
The  criticism  is  generally  just. 

Article  Scn.rfrRK,  nncyclop.-edia  Hritannica, 
<)th  ed. 
Valuable  paper,  both  technical  and  historical. 

Article  Wood-Carvinc,  Encyclop.x'dia  Hritan- 
nica, 9th  ed. 

Article  Tkmi'KRA,  ICncyclop.'cdia  Hritannica, 
9th  ed. 

Describes  the  process  which  was  most  used  in  Italy 
both  for  wall  work  and  panel  painting  during  the  days 
of  the  early  Renaissance. 

Millet,  Jean  Fran9ois.     .S',,'  Cariwriijht,  Julia  ; 
Koger-.Miles,  L.;  (///</ Sensier,  \. 

Mitchell,  Lucy  M. 

llisroRY  DK  Ancient  Scfi.rrfKE.  N.  Y., 
Dodd,  Mead  vS:  Co.,  1S83,  S4. 

An  excellent  manual  for  general  use.  It  makes  little 
claim  to  originality  of  research  on  the  part  of  its  author, 
but  the  marshalling  of  the  facts  and  the  presentation  of 
the  different  theories  is  intelligible,  and  there  is  prob- 
ably no  better  book  for  the  constant  reference  required 
in  a  library  of  tine  art.     There  arc  300  illustrations. 


They  are  not  verv'  excellent  as  pictures  hut  they  serve 
their  purpose  The  (luhlishcrs  have  issued  a  portfolio 
with  phototype  illustrations  of  jft  pieces  of  sculpture 
un<ler  the  title  "Selections  from  Ancient  Sculpture" 
%\)\  this  work  may  be  considered  a  supplement  to  Mrs. 
Mitchell's  volume.  732 

Modern  French  Mantera. 

A  Series  o(  Mio^^raphical  and  Critical  Reviews 
iiy  American  Artists.  Fdited  by  John  C. 
\'.in  Dyke.     N.  Y.,  Century  Co.,  1896,  %\». 

The  authors  of  this  book  are  )  Carroll  Hcckwith, 
F,  H  Hlashlicld,  William  A  Collin,  Kenyon  Cox,  W'yatI 
Katon,  (;.  1'  A  Healy,  Arthur  Moeber,  William  11. 
Howe,  Samuel  Isham,  Will  H  Low,  Theodore  Robin- 
son, I)  W  Tryon,  H  W  Watrous,  and  J.  Alden  Weir. 
Some  of  the  more  imporfint  articles  are  mentioned 
separately  under  the  artists'  names  The  book  is  illus. 
trated  by  37  large  wood-cuts,  ol  that  high  character  ol 
excellence  in  artistic  workmanship  which  the  I'cntuty 
MtiXiiziiie  has  done  so  much  to  establish,  and  28  half 
tone  prints.  The  editor  expressly  states  in  his  preface 
that  It  has  been  with  deliberate  purpose  that  "  the  best 
wood-cngravings  and  the  best  hall-tones"  are  put  here 
together  side  by  side  for  comparison. 

As  all  the  articles  in  this  book  ar"!  by  pr.ictising 
painters  writing  about  other  iiainlcrs  whose  works  they 
intimately  know,  the  reader  nas  one  of  the  best  oppor- 
tunities possible  to  see  for  himself  what  professional 
art  criticism  really  is.  There  is  only  one  drawback  to 
keep  in  mind— the  quasi-necessity  of  being  at  once 
entertaining  and  untechnical.  An  artist  writing  for 
artists  would  produce  something,  on  the  whole,  more 
instructive  for  the  few  who  would  read  it  intelligently. 

750,4 

Modern  Poster,  The. 

My  ARsi'.NE  Alexandre,  M.  II.  Si'IEI.man.  II. 
C.    MiNNER,   and   Atcasr  Jaccaci.     Illus. 
N.  Y.,  .Scribner,  iS()5,  $3. 
Sec  notes  under  the  names  of  contributors.  740 

MoUett,  John  W. 

KEMHKAMir.      (O.A.S.)     Lend.,    Low,    1S79, 

3s.  6(1.     N.  Y.,  Scribner,  ?i.25. 

Very  judiciously  compiled  from  the  larger  work  of 
Vosmaer  described  in  this  catalogue.  769.9 

Molmenti,  P.  O. 

Cari'Accio,  son  Temps  v:v  son  CEi'vre.     \'e- 
nise,  OiiKania,  1S93,  6  lire. 

Carp.-iccio's  chief  value  in  the  modern  world  Is  as  a 
recorder  of  the  splendid  costumes  and  rich  surround- 
ings of  the  Renaissance,  and  especially  as  a  transmitter 
of  those  strange  architectural  dreams  with  which  the 
XV.  century  men  loved  to  till  their  backgrounds.  The 
writer  of  these  notes  has  said  elsewhere  that  the  archi- 
tectural Renaissance  can  never  be  rightly  understood 
without  the  study  of  these  designs,  which  were  never 
embodied  except  in  pictures.  759.5 

Moore,  Albert.     .SVi'  Haldry,  A.  L. 

Moore,  Charles  H. 
ExAMi'i.Ks  i-oR  Elementary  Practice  in  De- 
lineation, designed  for  the  use  of  .Schools 
and  isolated  beginners.     Host.,  Ilcjughton, 
1SS4,  Si. 

Mr.  Moore  is  Instructor  in  drawing  and  the  principles 
of  designing  in  Harvard  University.  As  an  artist  his 
work  has  always  been  remarkable  for  extraordinary 
delicacy  of  finish  and  minute  refinement  both  in  line 
and  color.  He  has  always  advocated  a  far  more  thor- 
ough training  in  linear  drawing  and  firmness  of  out'ine 
as  a  preparatory  step  towards  finished  work  than  is 
usually  taught  at  present.  This  book  is  a  brief  embodi- 
ment of  his  system  and  contains  twenty  plates  of  outline 
drawing  intended  to  aid  in  his  inethorl  of  work.      740 

Moore,  George. 

Impressions  and  Opinions.     N.  Y.,  Scribner, 
Si. 25. 

Four  essays:  "  Meissonier  and  the  Salon  Julien," 
".\rt  for  the  Villa,"  "Degas,"  "New  Pictures  in  the 
National  Gallery."  See  what  is  said  of  this  author's 
book  "  Modern  Painting."  700 


*: 

M.:: 


JO 


Painting  iiihl  Sculpture. 


MiiDIKN   I'AIMINc;.       N',  Y.,  SriilitliT,  ^-i. 

TwcMlv  CHSiiys  (111  livini;  |iiimtrri  iiiiil  inodrrn  art 
tpndi'iuifs,  lidlli  tioiiii  and  evil,  with  frei|ui'nt  allusium 
ti>  iild  iirtislH,  and  sriMic  adoiint  <>f  men  \vli>>  are  imi 
liiiinlcrs,  'I'liiiH  tlic  artirif  cm  Cli.irlcH  Ki'tnr,  the 
(IraiiulitHinan  and  laritattirisl  <if  the  I.i>ndnn  I'nfuh,  \s 
iidniiralilu  art  irilli  itin.  I'hcrir  is  smnc  cmcss  (if  tn- 
thii.iaslic  praise  ipf  art  whii  h  lie  loves  an  I  "(  cnntempt 
(or  artists  and  i  ritii  s  wlmin  lli<-  author  hniks  upiin  as 
wholly  astray  in  their  aims  and  work,  lint  the  hook  is 
almost  wholly  ritjlit  in  its  tendency.  It  should  hi^  read 
with  lare  liy  all  who  really  wish  to  know  how  artists 
look  at  and  undcrutunU  art  and  how  art  should  he  in- 
terpreted. 750 

Morelli,  D.     .SV,  Willunl,  .\.  K. 

Morelli,  Oiovanni. 

IiAi.iAN  I'mmiks:  Ckhicai,  .Snnirs  hk 
TllKlK  W'liKKs,  Tr-.-insi.  by  ('mistanci.'  Jn- 
cclvii  I'f'iiilkfs.  1,(111(1,,  Idhii  .Miirrav,  i>*()2, 
3<)s,  N,  Y,,  Scril.ncr,  !«I2.  Vol.  1.,  'Ilie 
Mdrt^hfse  and  Doria-I'atntili  ("lallc-rifs.  WA. 
II,,  Thu  (ialicrics  of  Miitiicli  and  Drt'sdc-ii. 

Thisnulhor  Isthccrcatorof  asystem  of  study  applied 
to  the  authenticity  of  ancient  paintiiiHs  l)y  means  of 
which  he  han  chafliMiKed  the  atlrihution  of  many  pict- 
urrs  in  the  puhlic  K'llleries  (f  I'Uirope.  The  time  lias 
not  come  to  speak  positively  as  to  the  linal  result  of  this 
novel  system  of  inijuiry,  which  depends  upon  close 
Btuily  of  minute  particularities  of  form  and  handling  in 
the  works  of  cacti  separate  master.  It  is,  meantime,  of 
xinKular  importance  for  comparative  study  and  should 
be  compared  carefully  with  the  works  of  Crowe  and 
Cavulcusc-llc  and  other  unulyats  uf  Ituliun  puintin^. 

760.5 

Morin,  Louis. 

rKKNcii  Ii.l.isTRAl'iius.  Preface  liy  Jules 
Clarctic,  Illus.,  in  livi;  jiarts.  N.  Y,, 
.SiTil)tiLT,  iS()3,  !»i5. 

Text  not  important.  Cnntainn  ilhistr.ntions,  very 
beautifully  reproduced,  of  the  work  of  many  artists  of 
the  K"'!i'  I'iiris  school,  amonjf  whom  are  tlic  famous 
painterH  Kdouard  Detaille  and  Pierre  I'uvis-dc-Cha- 
vannes;  the  marvellous  draughtsman  in  black  and 
white,  I'aul  Renouard  ;  the  prince  of  modern  descrip- 
tive illustrators  and  story-tellers,  Daniel  Vierjie;  that 
master  of  broad  farce  who  calls  himself  Caran  d' Ache, 
jind  such  well-known  men  as  Lynch,  Forain,  and  de 
Myrbach.  An  article  in  the  Nniion,  vol.  ^t,  !>.  454 
(December  14,  iByj),  by  a  very  competent  writer,  draws 
a  comparison  well  worthy  of  study  lietween  the  I'rench 
and  the  American  illustrators,  as  described  in  this  book 
and  in  itu  cuinpuniun,  fur  which  suu  Smith,  F.  llopkin- 
don.  740 

Morland,  Oeorge.     .S'.r  Kichards<jn,  K. 

MorriH,  William,  kiuI  Middleton,  J.  H. 

Artide  Ml  KAi,  I'ai.mi.\(;,  r,iicy(,l<i]j;i'dia  Ifri- 
taniiica,  (jtli  ed. 

F.xtremely  valuable  remarks  on  the  principles  of  hne 
art  used  decorutively,  as  almost  all  important  line  art 
has  been, 

MUntz,  Eugene. 

Kai'iiaI";!.,  sa  Vif.  son  CEi-vre  kt  son  Tknii's. 
Paris,  ilachette,  1SS5,  25  fr. 

Valuable  as  beinn  the  work  of  (me  who  thorouRlily 
understands  the  line  arts  other  than  paintini;,  and  who 
is  able,  therefore,  to  e.\i)lain  the  relation  of  Raphael's 
work  as  a  painter  to  his  own  achievements  in  other 
fields  and  lo  the  world  of  fine  art  around  him.      750.5 

DoNATKl.l.o.  (I..A.C.)  J'aris,  I.ihrairic  de 
I'Art,  1.S85,  8  fr. 

Donatcllo  is  generally  taken  as  the  prcatest  sculptor 
of  the  early  Renaissance.  The  present  biography  of 
him,  by  a  very  competent  writer,  contains  a  j; reat  many 
valuable  illustrations,  tiome  uf  them  rcprcsen'.ing  pieces 
but  very  little  known.  732 

Murillo.     .SVc  Sweetser,  M.  F. 

Murray,  A.  S. 

HiSTOKV    OK    Grf.F.K     ScULrrURF,     FROM     TIIK 

Earliest   Timks   Down   to  the  Age  ok 


Plll-.IIH  \s.       IIl>|(iKV   III'  CiKKKK  Scill'l  IKK 
I'miI-K      PmihlAS      AM>      Ills     Si'CCESSOks. 

N.  Y.,  .ScriliiuT,  §14. 40. 

Taken  together,  these  two  books  make  a  history  of 
•.ciil|itiire,  (Ircik  .ind  (ir;i'i  o-Roin.in.  Mr.  Murray  is  in 
ch.irj,"',  at  the  llritish  Miisciini,  "f  the  (ireik  .md  Uomaii 
anti(|uitiis,  and  iian  archirolotri^t  ol  rt  pute.  The  work 
is  ((imposed  on  siicnlilii'  Iiiuh;  the  reader  Is  helped  hv 
references  to  iiiaiiy  other  authors.  733 

Muther,  Richard. 

IIisKiRv  OK  Modern  pAtM  ISC.  Illus.  N.  \'., 
Macniiiiaii,  iSc/i.  3  v.,  ifjo. 

A  book  which  every  library  should  possess  if  possi- 
ble, I'.iintinn  of  the  present  century  is  tre.iied  from 
every  point  of  view,  national,  stntimcnt.il,  soiial;  an 
attempt  lieinK  made  to  lUissify  artists  into  sihools,  or 
at  least  into  t;roups,  while  at  the  s.iine  time  the  dilli- 
eultyof  making' such  a  classilicalion  accurate  isstronjrly 
insisted  on.  Departments  (.f  modern  art,  which  would 
have  seemed  very  remote  from  the  sympathies  or  ex- 
perience of  a  (ierm.in  professor  or  the  employee  of  a 
(ierin.in  museum,  are  found  to  he  treated  with  singular 
insiKht  and  sympathy.  The  short( umiiins  of  the  book 
are  the  inevitable  ones,  su(  h  as  the  eompar.itive  iKnii- 
rance  of  painters  who  have  seldom  exhibited  on  the  con- 
tinent of  Kiirope,  the  total  omission  of  some  very  able 
artists  -probably  from  the  same  reason— and  the  tak- 
ing of  illustrations,  not  from  the  original  works,  but 
from  reproductions  in  continental  journals.  In  every 
such  work  there  is  an  almost  irresistible  tendency 
to  treat  the  literary,  or  sentimental,  or  moral  side  of 
art,  rather  to  the  exclusion  of  the  artistic  side.  This 
must  always  be  so,  because  the  artistic  expression  is 
extremely  difiicult  of  explanation  in  words.  The  lan- 
KUa^'c  o(^  art  is  very  dinicull  of  translation  into  any 
other  lan^rua^re.  To  a  ureat  extent  this  difficulty  has 
been  overcome  in  the  book  before  us.  The  amount  of 
labor  that  it  represents  is  indeed  extraordinary,  and  it 
has  been  well-directed  work.  750 

OrchardHon,  W.  Q.     .sV.  Ariiistroiin,  \V. 
Osier,  W.  Roscoe. 

TiNToRKI  id.       (("i..\..S.)       I. (111(1.,     Low,     \^-i), 

3s.  fid,     N'.  Y.,  S(  rihiier,  !ri.2s. 

An  enthusiastic  and  ailmiriin;  notice  of  a  painter 
eoncernin),'  whom  opinions  will  always  differ  widely. 
Some  will  claim  for  Tintoretto  a  place  amonj;  the  half 
dozen  (,'''<'•'''''>'  names  in  art,  while  to  others  he  must 
appear  a  m.m  of  the  second  rank,  althou^di  of  consum- 
mate ability.  As  there  is  but  little  known  of  his  life, 
a  brief  biography  t;ives  all  that  ca--  be  recorded,  but 
the  analysis  of  his  work  cannot  be  adetiuatc  unless  car- 
ried to  considerable  length.  750.5 

Overbeck,  J. 

(iKscMiciriE  HER  cKiKciiiscmN  Pi.astik. 
Leipzig,  I  linriths'sclic  lUichliaiidiiiii^',  i>S(>2, 
2  v.,  43  marks. 

The  standard  history  of  Greek  sculpture.  It  needs 
to  be  translated  into  Kn^'lish,  the  more  so  that  it  is 
written  in  a  (iernian  very  diflicult  for  all  who  are  not 
perfectly  at  home  in  the  lan^na^e  ;  that  is  to  say,  by  the 
vast  majority  of  English-speakin).;  students.  The  liook 
is  marred  by  a  too  j;reat  williiiKness  to  use  as  of  au- 
thoritative value  the  W(Jrds  of  classical  writers  eoncern- 
inK  works  of  sculpture  These  words  anMiever  critical, 
nor  the  writing  of  men  who  professed  to  have  studied, 
examined,  and  compared  worksof  art  of  different  epochs. 
They  are  mere  mention,  in  the  course  of  a  traveller's 
observation,  or  else  mere  allusion  ;  and,  however  valu- 
able they  are  in  the  absence  of  other  information  friiin 
the  ancients  themselves,  no  real  knowledjjeof  the  char- 
acter of  ancient  sculpture  is  to  be  gut  from  them.    733 

Paris,  Pierre. 

I.A  .S(  ii.piiRE  Antk.ue.  (H.K.H..\.)  Paris, 
yuantin,  5  fr.  'Iransl.  as  .Mamai.  ok  An- 
(  iknt  Scn.i'ifKE.  Ed.  by  J.  K.  Harrison. 
Phila.,  Lippincdtt,  i8.S(j,  $3. 

Treats  of  the  sculpture  of  the  ancient  Asiatic  n.i- 
tions,  of  Egypt,  of  Greece,  Etruria,  and  Rome.  It  cov- 
ers, therefore,  much  the  same  ground  as  the  chapters 
on  .sculpture  of  the  books  by  Flabelon,  CoUignon,  Mas- 
pero,  and  Murray,  named  in  I'art  I.;  it  is  well  to  com- 
pare the  treatment  uf  such  subjects  by  ditlerent  authors. 

732 


J\tiiitini^  anJ  Siuipturc. 


3* 


•  "ii;KK,K  Scir.l'riKK 
Ills     SlICCESSOKs. 


inks  make  ,i  tiintory  nf 
ni.iM.  Mr,  Murray  H  in 
if  llic  (ircck  aiul  U»man 
•.I  ul  re  |iiilr.  riir  work 
the  fiailcr  ii  liclin'il  liv 
733 


UN.;.    Illus.    N.  v., 

J' ). 

.Ill  111  111  ponsi'ss  if  possi- 

rntury  it  trcalcil   friitli 

sintimriit.il,  sm  i.il ;  an 

arti"*!**  into  si  limils,  nr 

lie  saiiiL'  time  tlio  ililli- 

tinn  accurati'  is  strongly 

Mlcrii  art,  which  wmilil 

the  sympathiis  ur  rx- 

■  nr  Ihi'  irn|ili)yc'r  i>f  il 

L-  tri'atcd  with  sinjrular 

rtiiiminwH  nf  the  linuk 

s  the  cnmpar.itivf  ijjiiii- 

uu'xhihitfil  nil  thricm- 

isiim  iif  some  vi'ry  able 

rcasiin— anil  the  tak- 

lic  orikfinal  works,  but 

ital  jnurnals.     In  every 

,t    irresistible   temlenty 

lental,  nr  mnral  siilc  of 

llie  artistic  side.     ThiH 

le  .irtistif  expression  i* 

in  in  words.    The  lan- 

of  translation  into  any 

xtent  this  ditrieulty  h.iH 

ire  us.     The  amount  of 

:U  extraordinary,  and  it 

^  760 

mstriiiin,  W. 


I.onil.,    I.i'W,    \^;i), 

n\i  notice  of  n  painter 
II  always  differ  widely. 
I  a  place  ainon^'  the  half 
ivliile  to  others  he  must 
nk,  allhouyh  of  consum- 
little  known  of  his  life, 
at  ca""  be  recorded,  but 
t  be  iideiiuatc  unless  car- 
750,6 


■ins('lII-\       I'l.ASTIK. 
Uiihhaii'lluii^,  I.Si^2, 

eek  sculpture.  It  needs 
,  the  more  so  that  it  is 
icult  for  all  who  arc  nut 
i^e  ;  that  is  to  say,  by  th<? 
inj;  students.  The  nook 
nyness  to  use  as  of  au- 
iassical  writers  concern- 
!  words  are  never  critical, 
•ofesseil  to  have  studied, 
of  art  of  different  epochs, 
e  course  of  a  traveller's 
ion  ;  and,  however  valu- 
other  information  fr.iin 
il  knowledtje  of  the  char- 
be  t'"-"'  from  them.    733 


(H.F..M..\.)     Paris, 
ii.s  Mantai.  Ill-  An- 
.  hv  J.  E.  Harrison. 
i,  ?3. 

the  ancient  Asiatic  na- 
uria,  and  Rome.  It  cov- 
Kround  as  the  chapters 
labelon,  Collijfnon,  Mas- 
'art  I.;  it  is  well  to  com- 
ietts  by  different  authors. 
732 


PattiNon,  Mm. .  Mark. 

Cl.AriiK     l.iiKKAlN,     SA     \'|K     It     SIS    (ICl  VKK.s, 

(I'iiliri'M   (Ifs  (jiifimuMits  itiuiliis.      I'aris,   l.i- 

lirairic-  dj  I'Art,  35  fr. 

Compare  what  I  1  said  of  tins  writer  under  "  The  Ue- 
t\iissan,e  of  Art  i  1  I'rance,"  and  also  iindir  lliike 
I' Ins  treatise  iichiitly  valuable  for  the  ureal  aim  111  n  I  of 
infiirinatinii  it  coiit.iins  and  llierlirnnolo^u.il  and  mlur 
I  i'llis  which  are  added  to  it;  there  are  also  a  nuinlier 
of  full-paiie  plates.  It  would  be  to  >  much  to  s.iy  that 
the  art  of  riaude— an  art  very  dilliciilt  to  iritiiise 
rlu'lilly— IS  altiitfetlier  well  explaine  1  in  this  book,  but  it 
is  f.ir  mure  likely  to  lead  t'  correct  lluii  to  erroneous 
views.  760.4 

Paul  Veronene.     .s.r  Vriatir,  C. 
Pennell,  Joneph 

I'KN   DkAUINi;  ANi-  PkV   nRAfCIITSMK.N  :    tlu'ir 

W'lirk   ami   their   methmls  ;  a   siiuly  nf    liie 

art  tii-ilay,  with  tcchniiiil  siiKijcstiuiis.    Illiis. 

N.  v.,  .\iacmillai),  i'^')^,  $1?. 

Mr.  I'ennell  is  himself  an  artist  in  pen  drawinc  for 
rejiroduction.  In  this  work  he  n'ves  advie  to  those 
wlio  would  become  skilful  in  the  art;  he  ),'ives  also  a 

f;reat  number  of  notices  of  artists  of  our  time  who  have 
ieeii  eminent  in  this  art,  touether  with  specimens  oi 
their  work.  In  the  course  of  his  argument  the  desire 
In  insist  upon  the  one  merit  of  skill  in  pen  drawini;,  in- 
tended  for  reproduction,  has  led  liim  into  strange  criti- 
cisms of  ureat  men  of  the  past.  For  most  readers  the 
attractiveness  of  the  book  will  be  in  the  illustrations, 
which  form  a  sort  of  encyclopa-dia  of  black  and  white 
of  the  day,  but  in  this  respect  it  would  be  more  useful 
and  certainly  more  entertaininjj  if  their  titles  and  ley- 
ends  were  (,'iven  to  the  pictures.  740 

Mmii'KN  Ii.i.isiKA  TioN.     Illus.     Lond.,   (leu. 

Mel!  \  .Suns.      N.  v.,  Marinillaii,  !?3.5'). 

It  has  been  sai  1  in  speakiii),'  of  Mr.  IVnnell's  1  ircer 
book  on  "  I'en  I)rawin^,^"  tliat  its  chief  use  to  most 
readers  would  be  that  of  a  treatise  on  modern  book  il- 
lustration. The  present  volume  is  useful  i.i  a  similar 
way,  and  ii  much  smaller  and  less  cxoensivi.  There- 
productions  are  very  uneven  in  (luality.  Here,  as  in 
the  lamer  work,  the  pictures  would  be  more  Interesting 
if  the  titles  were  yiven.  U55.53 

'I'liK  Iii.isi  KA  riiix  or  HixiKS  :  a  Mamial  fur 
the  I'sc  of  .Stiuk-nts  ;  Notes  fur  a  Course  of 
I.etturcs  at  the  .Slaile  .Sihool,  I'liivcrsity 
<-■  illfj,'c.  I.ond.,  'I'.  I'ishcr  L'liwiri.  N.  Y., 
Century  Co.,  iSi/i,  $1, 

In  this  little  volume  the  practical  instructions  to  pen 
draunhtsnien  who  wish  to  work  for  reiiroduction,  which 
instructions  are  also  includid  in  the  larjjer  wmk,  are 
(,'ivcii  in  a  cnmi).ict  form,  and  with  additions  and  a  new 
arraniienient.  The  author  is  an  enthusiast  for  the  art 
of  which  he  treats  and  tu  which  he  has  devoted  himself. 

055.53 

Perkins,  Charles  C. 

lllSloKKAI.     IIaMiIIdoK    oK    ITALIAN    Sril.i'l- 

1  KK.      Illus.      N'.  Y.,  SiTiliiier,  l?4. 

Devoted  chiefly  to  the  sculpture  of  Central  and 
Northern  Italy  from  about  ijoi  to  about  1600.  Itcon- 
l;iins  ma  y  errors,  and  should  be  wholly  revised  in  the 
liK'lit  of  modern  iliscoveries,  but  it  can  yive  a  (,'oi.d 
L'eneral  account  of  this  very  important  phase  of  art. 

735 

Perry,  Walter  Copland. 

(Jki-.kk  AMI  iioMAN  Sell. rrruE.    Illus.    l.otid., 
Lon^jiuans,  1S.S2.     ( )iit  of  print. 

Valuable  for  the  systematic  arranpcment  of  the  in- 
formation concerning  ancient  sculpture  as  we  obtain  it 
friiin  the  writers  of  antii|uity,  and  the  comparison  of  this 
information  with  the  extant  works  which  are  thought  to 
be  of  the  same  period.  .See,  however,  what  is  said, 
under  Overbeck,  of  what  ancient  writers  have  said  of 
ancient  art.  733 

Phidias.     .SV.'  Collignon,  M. 

Phillips,  Claude. 

A.MDINK  Waitkai'.      Portfolio    Monograph, 


lunc,  iSi)5,     I.ond,.  Si-idoy  it  Co,     N.   Y.. 

Nluiinillan,  75  1 . 

Watteau  is  in  a  certain  vnie  to  he  cnmp.ireil  with 
Houarlh.  Kiicli  w.is  a  painter  whose  subjei  ts  were  o( 
NUcli  a  charactir  that  lliey  , done  are  regarded  in  looking 
at  the  work  n(  art,  while  in  e.icli  the  painting  itself  is 
masterly  both  in  intention  and  leilinic,  Kveii  i>ainter« 
disre(;aril  lloijarth  too  iiuuli,  f  irijcttinK  thai  lie  is  si 
much  more  than  ;i  mrrr  recorder  or  a  mere  i.iricaturist; 
while  Walleau,  thou^;li  his  wi;rk  is  universally  admired 
by  those  who  are  most  titled  toaiipreciate  it,  is  little  rc- 
jiarded  by  the  student  in  t'eneial.  The  present  author 
(alls  Watteau  the  ^realest  of  silluU  maiiters  ;  but  he  is, 
perhaps,  even  more  than  this.  750.4 

N.    Y.,    Siriliner, 


Sir    InsiiiA    Kkvmh.iis 
i.S()4,  $2.50. 

One  nf  the  best  of  recent   monouraphs 
nine  illustrations  from  prints  by  the  master 


Contains 
760.2 


I'i<i;iiKiUi  K  Wai.Kkk.  Portfolio  Monuyraph, 
June,  l'^')4.  I.ond.,  Seelev  iV  Co.  N.  Y., 
"Maiinillan,  75  c. 

A  vigorous  and  really  critical  rnono«raph  on  the 
work  of  an  admirable  artist  who  died  in  187^.       750.2 

T'lii'.  PuriKr.  riAM.KRV  oi'  CiiARi.Ks  I.  Port- 
folio Monograph,  I;m.,  iSi/).  I.ond.,  Seelev 
it  Co.      N.  Y.,  Macinillan,  $1.25. 

Charles  I.  of  Knuland  owned  a  very  large  collection 
of  paintinifs,  many  of  them  of  the  hitfhest  possible 
value.  The  authorities  of  the  Commonwealth  ordered 
the  sale  of  these,  and  they  were  scattered  over  Kurope. 
The  iircsent  work  is  a  praiseworthy  attempt  to  enumer- 
ate them  and  to  ascertain  their  present  location.  Many 
very  pood  photographic  reproductions  are  given.     760 

Pollard,  A.  W. 

IlAI.IAN    MnoK    Il.I.CSTR.ATIONS,  Chlcflv    of   the 

XV.  century.      Portfolio  Monograph,   Dec, 
iSi)4.      I.ond.,   Seeley  iV  Co.     N.   Y.,   Mat- 

millaii,  75  c. 

A  good  and  appreciative  cssny  on  a  class  of  hooks 
which  are  amony  the  most  beautiful  in  the  world  by 
means  of  their  illustrations,  in  which  the  fresh  charm 
of  the  early  Renaissance  exists  uninarred  by  other  in- 
lluences.  There  are  many  examples  given  in  rtMiroduc- 
tions  generally  good  ;  the  text  is  valuable.         055.53 

Poster,  The  Modern.     .SV,  M  idem. 

Poynter,  Edward  J. 

Tk\  1,i:(  TIKI'S  on  Au  r.     3ded.     I.ond.,  Chap- 
man it  I  lall,  (js. 
Contains  very  just  conclusions  as  to  fine  art  and  very 

clearlv  expressed  analysis  of  painting  of  many  schools. 

The  cnmp;irisonsof  Continental  painting  witii  Knglish 

are  fair  and  almost  wholly  satisfactory.  750 

Poynter,  Edward  J.,  /uii/cr. 

A  series  of  "  Ak  1    IIamihooks."     Illustrated. 

Poynter,  E.  J.,  .///i/  Head,  P.  R.     Paim- 

IM.,     Cl.ASSIlAI,     .\M)      ll.\I.I.\N.         N.     Y., 

.Scribner,  S2.  769 

Smith,  Gerard  W.  Painiim;,  Fkkmh  ani> 
Spanish.     N.  Y.,  Scribner,  $2.  759.4 

Buxton,   H.   J.   W.,  lilt,/  Poynter,   E.   J. 

(IkKM.VN,  IM.KMIsII.  AN!)  I)i  icu  Palniinc. 
N.  Y.,  -Scribner,  ^2.  769 

Redgrave, Gilbert R.    1 1 jsi< )R y  ok  Watkr- 

Ci)l,<lK     I'AINIlNi;    IN     Hnui.ani).        N.    Y., 
.Scribner,  $2.  759.2 

Buxton,  H.  J.  Wilmot.  Ent.msh  Patm  eks: 
With  a  Chapter  on  American  Painters  by 
S.  R.  Koehler.   N.  V.,  Scribner,  $2.     759.2 

These  five  honks  may  be  taken  together  as  forminjf 
a  historv  of  Painters  and  Painting  in  the  sense  that 
they  tell  what  Painters  have  been  successful  and  fa- 
mous in  the  different  countries  of  Europe  and  in  the 


■■     if 

I't   ' 
•p  *■ 

f         i:    ' 


i'      1)1 

li 


i 


I 


j;r;*Vi 

1 

1j    ■■''''■ 

3 

Km 

lit 

32 


Faintiiii^  and  Sculpture, 


United  States  before  about  i860,  that  they  pive  dates, 
mention  by  name  the  more  celebrated  pictures,  and 
jjive  prominence  to  those  artists  who  are  esteemed  the 
BrinKers  in  of  important  changes  and  as  founders  of 
new  schools.  Considered  as  works  of  criticism,  they 
fail  in  that  there  is  a  visible  attempt  to  explain  what 
cannot  easily  be  explained  m  words,  except  at  ^;reat 
length,  and  that,  moreover,  they  seem  to  be  written 
rather  by  scholars  familiar  with  the  externals  of  art, 
and  knowint;  little  of  its  essential  character,  In  these 
respects  the  book  on  water-color  in  England  is  much 
the  best,  but  this  is  partly  because  259  pages  are  de- 
voted to  this  small  subject;  a  space  ten  times  as  great 
as  It  would  occupy  in  proportion  with  the  others.  A 
brief  synoptical  history  of^  painting  would  be  best  in 
the  form  of  a  biographical  dictionary  of  artists  ar- 
ranged m  the  order  of  their  schools  If  a  dictionary 
such  as  Bryan's  or  Seubert's  could  be  rearranged  so 
that  the  notices  would  follow  one  another  systemati 
cally  and  not  .ilphabetically,  and  made  accessible  by 
a  full  alphabetical  index,  the  comparative  length  of 
the  notices  would  show  the  student  which  were  the 
more  important  artists,  and  differences  of  type  and  so 
forth  might  be  utilized  In  this  way  the  necessity  of 
keeping  up  a  contir.uoua  narrative  would  be  avoided, 
The  author  would  not  attempt  to  make  his  story  at- 
tractive except  as  to  one  artist  at  a  time  Something 
like  this  IS  done  in  the  volume  above  named  on  (ler 
man,  Flemish,  and  Dutch  Painting— the  most  useful  of 
the  series.  It  is  probable  that  books  covering  so  large 
a  Held  as  the  painting  of  even  one  great  nation  are 
seldom  read  consecutively;  they  are  used  for  reference. 
Only  books  on  a  mui.!:  larger  scale,  with  much  more 
opportunity  for  detail  and  comparison,  can  be  made 
agreeable  reaHng. 

With  regard  to  one  volume  of  this  series  it  should 
be  said  that  the  sketch  of  "  American  Art  "  does  not  in- 
clude the  men  who  have  made  it  what  it  now  is,  even 
artists  so  long  before  the  public  as  I,a  Farge,  Inness, 
Chase,  and  Martin  being  omitted.  Probably  it  was 
not  meant  to  include  men  living  when  the  book  was 
written. 

Fropert,  J.  L. 

History  ok  MiNlATt'RE  Art  ;  with  notes  un 
Collectors  and  Collections.  lUus.  N.  Y., 
Macmillan,  1SS7,  $27.50. 

Almost  wholly  devoted  to  the  painting  of  very  small 
pictures.  This  covers  the  ground  of  paintings  in  medi- 
a;val  manu.scripts,  and  following  these,  chiefly  the  small 
portraits  arranged  medallion-wise  of  the  X\* I.,  XVII., 
and  XVIII.  centuries.  It  is  to  thisart  that  all  the  illus- 
trations except  one  plate  are  devoted.  There  arc  chap- 
ters also  on  modelling  in  wax,  snuff-boxes,  etc.,  and  an 
interesting  discussion  of  collectors  and  collecting.  The 
plates  are  of  singular  value.  757 

Radcliffe,  A.  G. 

Schools  and  Mastkrs  ok  Scii.rrLRK.  N.  Y., 
Appleton,  $3. 

A  sketch  of  the  History  of  Sculpture  in  all  ages. 
There  has  been  a  serious  attempt  to  make  an  interesting 
continuous  narrativj  of  each  cnapter,  and  the  attempt 
is  more  nearly  successful  than  could  be  anticipated. 
The  critical  value  of  different  chapters  varies  greatly; 
♦h us  the  account  of  Gothic  sculpture  isof  little  utility, 
tliat  of  sculpture  under  the  Romans  is  marred  by  too 
great  willingness  to  accept  as  fact  what  is  only  assumed, 
while  the  account  of  nineteenth  century  sculpture  is 
usually  good  and  shows  much  critical  insight.  A  great 
deal  of  space  is  taken  up  by  mere  anecdote ;  and  this 
has  the  additional  bad  result  that  contemporary  gossip 
about  a  work  of  art  is  allowed  to  influence  opinion 
as  to  the  work  itself  and  its  value.  The  book  ends 
with  two  chapters  on  the  museums  of  Europe  and 
America,  but  these  are  far  too  brief  to  be  of  much 
value  as  guides  to  the  student.  There  are  about  thirty 
full-page  photographic  illustrations  of  representative 
sculptures.  730 

Schools  and  Masters  ok  Paintinu.     N.  Y., 

Appleton,  $3. 

Has  nearly  tlie  same  character  as  the  companion 
volume  on  sculpture.  759 


Raphae?.    Sie  Cartwright,   Julia  ;   Muntz, 
Sweetzcr,  M.  F. 


E.; 


Hedford,  George. 

Scii.i'Ti'RK ;    Ec.Yi'TrAN,   Assyrian,    Grekk, 
AND  Roman.   (Art  Handbook  Series.)  N.Y., 
Scribner,  $2. 
A  good  general  account  of  ancient  sculpture  ;  may 


be  trusted  for  the  general  accuracy  oi  its  statements. 
It  seems  carelessly  written,  however,  as  if  the  exact 
force  of  words  was  not  felt,  732 

Redgrave,  Richard  and  Samuel. 

A    CKNIfRY    OK    PaINIKKS    OK    THE    ENC.I.ISH 

Sciiooi,.        l  ed.     AhridKed  and  illustrated. 
Lond.,  Sainpson  L(jw,  1S90,  7s.  M. 

An  account  of  the  English  painters  from  the  time  of 
Henry  VIII.  to  the  close  of  the  generation  which  was 
passing  away  about  1885.  It  is  very  readably  written 
in  narrative  form.  Few  books  of  the  kind  are  as  just 
and  sympathetic  as  this,  It  does  not  give  the  names  of 
those  living  in  i88q.  739.2 

Redgrave,  Samuel. 

Duitonary  ok  Artists  ok  the  Encmsii 
Schools,  eic.  New  and  revised  edition. 
N.  Y.,  .Macmillan,  $5. 

Contains  much  the  same  matter  as  a  "Century  of 
Painters,"  but  arranged  alphabeticallv  under  names  of 
artists,  and  to  this  adds  notices  of  sculptors,  architects, 
etc.  703 

Rees,  J.  Ruutz. 

Horace  Veknet:  Paul  Delaroche.  (G.  A.S.) 
Lond.,  Low,  1S79,  3s.  6d.  N.  Y.,  Scribner, 
$1.25. 

Comprises  two  papers.  Of  the  first  paper  it  is  to  be 
said  that  Vernet's  work  has  no  such  value  as  this  au- 
thor ascribes  to  it ;  no  artist  would  join  for  one  moment 
in  the  praise  awarded  to  him  here.  The  other  paper  is 
more  judicious  in  the  matter  of  artistic  appreciation. 
In  f.ict  the  sense  of  Delaroche's  place  in  art  seems  to 
be  adequate.  Both  the  essays  are  made  valuable  to  the 
student  of  modern  painting  by  the  list  of  works,  dates, 
anecdotes,  etc.  759.4 

Reid,  George. 

Article  Painting,  Encyclopaedia  Hritannica, 
9th  ed. 

Devoted  practically  to  descriptions  of  different 
processes,  with  valuable  hints. 

Reinach,  Salomon. 

Rom.an  ScfLi'TiRK.  Illus.  N.  Y.,  Macmil- 
lan. 

Announced  without  date. 

The  author  is  a  well-known  arch.TColoirist  who  has 
given  unusual  attention  to  the  Roman  antiquities  with 
which  France  and  her  colonics  are  richly  endowed  :  he 
has  also  published  mimographs  on  the  Trajan  column 
at  Rome  and  on  separate  works  of  Greek  art.  He  is 
Director  of  the  Archa;ological  Museum  at  St.  Gcrmain- 
en-Laye  near  Paris.  733 


Regnault,  Henri.     .V<v 
ton,  P.  (j.,  under 


Mar.x,   R..  niu/  Hamer- 
'  Modern  rrenchnien." 


Rembrandt.  .SV<'  Haden,  Francis  Seymour  ; 
Hamerton,  P.  G. ;  .MoUett,  J.  \V.;  Sweetser, 
^L  F. ;  (/;/(/ X'osmaer,  C. 

Reynolds,  .SV;-  Joshua.  .V,v  Chesncau,  Ernest ; 
Philli|)s,  C. ;  i/;/c/ Sweetser,  .\L  F. 

Rhys,  Ernest. 

Sir  Fkkiieric  Leighton:  an  illustrated  chron- 
icle, with  prefatory  essay  by  F.  (J.  Stephens. 
Illus.  Lond.,  George  Hell'iS:  Sons.  N.  Y., 
Macmillan,  1S95,  $20. 

Leighton,  late  President  of  the  Royal  Academy,  w.-is 
one  of  those  painters  who  both  achieved  and  deserved 
great  success.  He  was  a  map  of  extraordinary  ability 
and  a  hard  and  constant  worker;  if  his  art  is  less  fas- 
cinating than  that  of  some  of  his  contemporaries,  it  is 
full  (if  merit,  showing  both  force  and  delicacy.  A  com- 
jiarison  between  him  and  two  other  English  painters  of 
his  time  is  suggested  under  Bell's  "  Burne-Jones." 

759.2 
Ricci,  Corrado. 

Aniomo  .Ai.lkuki  da  CoRREc.iiio:  His  Life, 
His  Friends,  and   His  Time.      Transl.   by 


Painting  and  Sculpture. 


33 


acy  oi  Its  statements, 
a'ver,  as  if  the  exact 
732 

luel. 

i)l'    THE     ENCI-ISII 

u<l  and  illustrated. 
JO,  7s.  M. 

nters  from  the  time  of 
generation  which  was 
very  readably  written 
f  the  kind  are  as  just 
not  give  the  names  of 
739.3 


OK     THE     EnT.I.ISH 

revised  edition. 


ter  as  a  "Century  of 

tically  under  names  of 

i  sculptors,  architects, 

703 


AROCHK.     (G.A.S.) 

N.  Y.,  Scribner, 

e  first  paper  it  is  to  be 
such  value  as  this  au- 
d  join  for  one  moment 
e.    The  other  paper  is 

artistic  appreciation. 

place  in  art  seems  to 
e  made  valuable  to  the 
le  list  of  works,  dates. 
759.4 


ipa?dia   Hritannica, 
:riptions   of    diflferent 

N.   Y.,  Macmil- 


arch.xologist  who  has 
loman  anti(|uities  with 
re  richly  endowed  ;  he 
on  the  Trajan  column 
iof  CIreek  art.  He  is 
useum  at  St.  Germain- 
733 

,   R..  (iiut  Hamcr- 
:rii  Frcnthnien." 

Francis   .Seymour  ; 
t,  J.  W.;  Swectser, 


"licsneau,  Ernest ; 
r,  .M.  Y. 


I  illustrated  chron- 
bv  F.  (;.  Stephens. 

II  &  Sons.     N.  Y., 

;  Royal  Academy,  was 
chieved  and  deserved 
extraordinary  ability 
;  if  his  art  is  less  fas- 
i  contemporaries,  it  is 
and  delicacy.  A  com- 
er F'n^flish  painters  of 
i  "Burne-Jones." 

759.2 


REccio  :  Mis  Life, 
ime.      Transl.   by- 


Florence  Simmonds.     lUus,     N.  Y.,  Scrib- 
ner, iS()4,  |i2. 

One  of  the  most  interestmc  .ind  v.iluable  of  the 
monographs  which  are  now  so  numerous  The  illus 
trations  are  not  so  beautiful  as  those  of  many  other 
similar  books,  but  they  are  photographic  reproductions, 
trustworthy  as  far  as  they  K".  and  abundant.  Corrcg 
gi  )S  frescoes  at  Parma  are  thought  by  -nany  excellent 
judges  to  be  the  finest  mural  nainting;.  in  Europe  :  these 
are  discussed  both  historically  and  critically,  at  great 
length  and  in  an  excellent  spirit.  759.5 

Richardson,  Ralph. 

(Jeorc.e  M(iRi..\Nn.   P.viNTER.     Lond.,   Elliott 

Stock,  i8()5.  7s.  Od, 

A  typical,  brief,  and  inexpensive  biography  of  an 
artist;  for  this  reason  it  is  mentioned  here,  for  it  would 
t>e  impossible  to  give  the  biographies  of  many  ar- 
tists of  Morland's  rank,  respectable  though  that  rank  is 
His  pictures  are  now  (1396)  in  great  favor,  and  that 
popularity  has  brought  this  hook  into  existence.  It 
contains  as  complete  a  list  of  his  paintings,  and  of  the 
engraving-  made  from  them,  as  was  possible  to  the 
author,  six  illustrations.  The  narrative  is  of  great  in- 
terest. 75t*.2 

Richter,  Jean  Paul. 

Leonarho.     (G.-^.S.)     Lond.,  Low,  1870,  3s. 
6d.     N.  Y.,  Scribner,  $1.25. 

An  intelligent  account  of  the  life  and  what  little  is 
known  of  the  work  ol  a  wholly  exceptional  genius.  It 
IS  impossible  to  study  Leonardo  too  closely,  because 
accident  as  well  as  unfortunate  traits  of  the  man  have 
destroyed  nearly  all  his  important  works  of  an  ,  be- 
cause, moreover,  as  a  painter  Leonardo  is  one  of  the 
most  faulty  of  masters  while  also  one  of  the  greatest. 

759.5 

Rlo,  A.  F. 

L'Ar  r  Chretien.     N'ouvelle  Edition,  au^men- 
t6e.      Paris,  Retaux,  4  v.,  15  fr. 

An  account  of  Italian  art,  mainly  painting,  from  the 
point  of  view  of  a  devout  Catholic,  and  one  far  less 
interested  in  the  purely  artistic  view  of  the  work  of  art 
than  in  its  religious  or  social  tendencies.  In  spite  of 
this  uncritical  treatment  of  the  subject,  the  book  has 
value  to  any  one  who  is  studying  Italian  painting  seri- 
ously. 750.5 

Ei'iLociE  .\  L'.-\rt  CiiREiiEN.  Paris,  Re- 
taj.ix,  2  v.,  f)  fr. 

Not  a  continuation  in  any  sense  of  "  L'Art  Chretien," 
by  the  same  author,  but  rather  a  treatise  upon  the  in- 
fluences and  theories  which  led  to  the  composition  of 
that  well-known  book.  This  work  is  mentioned  chiefly 
because  of  its  value  in  making  clear  the  remarkable 
attempt  to  include  art  in  a  system  of  Christian  philos- 
ophy which  was  made  by  Lamennais  partly  with  Uio's 
assistance.  759.5 

Leonardo  pa  Vinci  v:v  .son  I'.coi  e.      Paris, 

A.  Uray,  1S55,  fr.  3.50. 

See  what  is  said  of  this  writer  under  his  "  L'Art 
Chretien."  Leonardo  and  his  art  form  an  interesting 
subject  when  treated  from  this  author's  point  of  view, 
because  Leonardo  was  reputed  in  his  own  time  to  be 
rather  a  philosopher  than  a  good  Catholic.  759.5 

Roger-Miles,  L. 

Le  Paysan  HANS  L'CEivre  de  J.  F.  Mii.i.et. 
lUustree  d'un  portrait  el  de  25  reproductions 
d'a'uvres  de  Millet.  Paris,  Flammarion, 
iS()4,  6  fr. 

The 

many  w: 

tray  the , 

sympathetic  way.    This  book  treats 
thoroughness. 


14,  6  fr. 

'.  paintings  of  Jean  Fnin^ois  Millet,  valuable  in 
ways,  are  interesting  especially  in  that  they  por- 
le  French  peasantry  in  a  peculiarly  intimate  and 
.thetic  way.  This  book  treats  the  subject  with 
iL'hness.  759.4 


RossetU,  D.  a.  .V,v  Sharp,  W. ;  Stephens,  F. 
(j. ;  iiiiil  Woovl,  v.. 

Rude,  FranQois.  .V.y  Hertrand,  Ale.xis,  and 
Hamerton,  I'.  G.,  under  "Modern  French- 
men." 


Ruskin,  John. 

•Modern  Painters.  Illus.  Lond.,  Geo.  Allen, 
5  v.,  £(^  Cis.  Index  in  I  v.,  separate,  14s. 
The  6  v.,  N.  Y.,  .Scribner,  $48. 

This  work,  of  which  the  final  volume  was  first  pub- 
lished in  i860,  contains  much  the  most  important  and 
the  safest  writing  upon  art  which  the  author  has  given 
us.  .Ml  Mr  Ruskin's  message  for  the  world,  so  far  as 
It  relates  to  fine  art,  is  to  be  found  in  these  volumes. 
It  may  even  be  said  that  the  more  mature  thinker  upon 
artistic  topics  should  give  time  to  the  careful  reading 
of  the  third  and  fourth  volumes,  as  he  will  find  nowhere 
else  the  moralist's  view  and  the  nature-lover's  view  of 
fine  art  so  well  expressed. 

Mr  Ruskin's  writing  on  fine  art  is  to  be  avoided  by 
beginners,  because,  commencing  his  critical  writing  at 
a  very  early  age,  he  committed  himself  to  a  false  theory 
of  fine  art,  and  then  abandoned  writing  on  the  subiect 
at  about  the  age  of  forty,  when  he  would  naturally 
have  begun  to  correct  his  early  errors.  A  lofty  morality 
and  a  true  love  of  nature  are  to  be  found  in  his  writings 
of  the  years  1843-62,  but  hardly  a  sound  art-cnticism. 

A  small  edition  of  Part  II.,  "Of  Ideas  of  Beauty,'  is 
offered  in  two  volumes,  with  preface  by  Professor 
Charles  Eliot  Norton.  N.  Y.,  Maynard,  Merrill  &  Co., 
$3-  750 

PRE-RArHAEi.iTisM.     Lon..  ,  5s.    Out  of  print. 

This  pamphlet  was  issued  in  1851,  and  was  intended 
to  plead  for  the  then  new  and  revolutionary  school  of 
artists,  and  to  point  out  the  essential  truth  to  nature  and 
the  moral  dignity  of  Pre-Raphaelite  painting.  Ruskin 
was  in  no  sense  the  founder,  as  is  often  stated,  or  even 
the  suggestor  of  the  Pre-Raph-telite  brotherhood,  but 
he  was  their  warmest  defender  in  published  criticism, 

750 

Giotto  and  His  Works  in  Padfa  ;  with 
plates.  Lond.,  Smith,  Elder  iS:  Co.  Out 
of  print. 

Printed  in  1834  for  the  subscribers  to  the  Arundel 
Society  as  an  accompaniment  to  a  series  of  large  wood- 
cuts from  the  frescoes  in  the  Arena  Chapel  at  Padua. 
Photographs  of  these  frescoes  can  now  be  bought  at  a 
low  iirice.  The  text  itself  is  one  of  the  most  critical  of 
Mr.  Ruskin's  publications,  and  is  really  of  help  to  the 
right  understanding  of  the  frescoes,  and  through  them 
of  early  Italian  painting.  759  5 

The  IIarhoi'Rs  of  Encland.  Engraved  by 
Thomas  Lupton,  from  original  drawings 
made  expressly  fcjr  the  work  by  J.  M.  W. 
Turner,  with  illustrative  text,  12  plates. 
Lond.,  E.  Gambart  iS:  Co.,  1S56.  N.  Y., 
Scribner,  S3. 

The  text  is  more  than  a  mere  description  of  each 
plate.  It  is  a  somewhat  full  exposition  of  Ruskin's 
view  on  landscape  painting.  The  plates  are  of  very 
unusual  value,  mezzotints  of  great  beauty  and  faithful 
to  the  noble  originals.  740 

Elements  of  Drawinc.     In  three  letters  to 

beginners.     Lond.,  (ieo.   .Allen,   5s.     Also, 

with  preface  bv  Prof,  Charles  El''jt  Norton. 

N.  Y., Maynard,  Merrill  &  Co.,  il^i.50. 

First  published  in  1857,  and  somewhat  altered  in  the 

second  edition  ;   begins  with  an  attempt  to  take  the 

youth  who  has  never  held  pencil  or  pen  in  hand,  and 

give  him  the  first  lessons.    After  seven  or  eight  lessons 

the  work  passes  into  general  advice  and  exhortation. 

It  can  all  be  read  with  great  interest  and  with  much 

profit:   it  must  be  remembered  that  there  is  always 

something  to  be  said  in  favor  of  the  system  of  drawing 

with  minute  attention  to  detail  and  close  study  of  the 

minor  forms  of  nature,  although  that  is  not  the  system 

most  generally  in  use  among  artists  who  are  teachers. 

Compare  C.  H.  Moore's  booK  mentioned  in  this  list. 

740 

Araira  Pentei.ici  ;  Six  Lectures  on  the  Ele- 
ments of  Sculpture.  With  illustrations,  xii, 
207  p.  Lond.,  Geo.  Allen,  Keston,  1872, 
7s.  bd.  .•Xlso,  with  preface  by  Charles  Eliot 
Nortim,  illustrated  by  20  autotypes  and  one 
engraving.       N.   Y.,'  Mavnard,    Merrill   iS: 

Co.,  $2.75. 

The  later  works  of  this  author,  such  .as  the  present 
one,  dating  from  his  fifty-first  year,  show  a  larger  sense 
of  the  artistic  side  of  art  and  of  tne  need  in  art  of  some- . 


34 


Painting  and  Sculpture. 


't- 


W-l 


F..~i- 


thine  more  than  faithful  study  of  nature  than  his  earlier 
work.  They  are  not  on  that  account  more  useful  to  the 
student.  That  more  critical  view  of  art  appears  only 
in  detached  sentences  and  the  ffcncral  tendency  is,  more 
strongly  than  ever,  towards  mysticism  and  a  poetical 
treatment  of  the  author's  conception  of  what  art  might 
be  but  never  yet  has  been.  730 

TiiK  Relatmn  Hktwken'  Michael  AN<;Ei.n 
AM)  TiMOKEi.     Lciritl.,  Geo.  Allen,  is. 

The  seventh  of  the  course  of  lectures  on  sculpture, 
oi  which  six  arc  included  in  "  AratraPentelici."  First 
issued  in  1872.  759.5 

Ariadne  Florentlna;  Six  Lectures  on  Wood 
and  Metal  En>;ravin(;.  lUus.  Lond.,  Geo. 
Allen,  1876,  7s.  Od.  Also,  with  preface  by 
Prof.  Charles  Eliot  Norton.  N.  Y.,  Mav- 
nard,  Merrill  &  Co.,  $2.75. 

Ilie  reader  will  understand  that  this  is  not  a  guide 
to  the  collector  or  student  of  old  prints.  It  is  an  imagi- 
native appeal  in  favor  of  certain  supposed  meanings 
found  by  the  author  in  prints  which  he  loves.  It  is  a 
fascinating  pursuit  to  read  into  works  of  art  meanings 
which  they  can  be  made  to  contain,  but  it  is  better  art 
criticism,  and  on  the  whole  more  instructive,  to  try 
hard  to  ascertain  what  was  the  artist's  meaning.  As 
regards  the  archaeological  study  of  the  art  of  engrav- 
ing, Mr.  Ruskin  has  never  given  thought  to  such  study, 
hence  his  statement  of  facts  is  generally  open  to  objec- 

tior  T'eo 

Val  d'Arno  ;  Ten  Lectures  on  the  Tuscan 
Art  directly  antecedent  to  the  Florentine 
Year  of  Victories.  With  12  jjlates.  Lond., 
Geo.  Allen,  1.S74,  230  p.,  7s.  fid.  Also, 
with  preface  bv  I'rof.  Charles  Eliot  Norton. 
N.  Y.,  Maynafd,  Merrill  &  Co.,  $2.75. 

759.5 

The  Laws  of  Fesole:  A  Familiar  Treatise 
on  the  Elementary  Principles  and  Practice 
of  Drawing  and  Painting,  as  determined  by 
the  Tuscan  Masters.  Arranged  for  the  use 
of  schools.  With  plates  drawn  bv  the  au- 
thor.    Lond.,  Geo.  Allen,  1878,  8s'         707 

Mornings  in  Florence  ;  Being  Simple  Stud- 
ies of  Christian  Art  for  English  Travellers. 
1,  Santa  Cnjce.  "2,  The  Golden  (>ate.  3, 
Before  the  S(jldan.  4,  The  Vaulted  Hook. 
5,  The  Strait  Gate.  6,  The  .Shepherd's 
Tower.     Lond.,  Geo.  Allen,  1875,  4s. 

The  conviction  expressed  repeatedly  in  these  notes 
that  Ruskin  is  not  a  good  guirle  for  beginners  in  the 
study  of  art,  requires  to  be  urged  with  especial  force  in 
the  matter  of  these  guide-books,  intended  for  the  use  of 
travellersin  Churches  and  Galleries  of  Europe.  Hisown 
and  others'  experience,  continued  througfi  many  sea- 
sons, would  alone  serve  to  convince  the  present  writer 
that  the  untrained  student  in  ancient  art  is  seriously 
misled  and  his  time  wasted  when  any  attempt  is  made 
to  visit  and  study  paintings  with  these  books  in  hand. 
After  one  has  become  familiar  with  the  pictures,  these 
books  may  be  useful  as  suggesting  an  ideal  of  art  which 
is  certainly  not  the  artist  s  view,  but  may  still  be  de- 
fended by  those  who  seek  in  pictures  something  which 
is  not  their  pictorial  quality.  Compare  what  is  said  of 
t'le  Supplement  of  '  'St,  Mark's  Rest "  below.  704 

St.  Mark's  Rest:  The  History  of  Venice, 
written  for  the  help  of  the  few  travellers 
who  still  care  for  her  monuments.  Two 
parts  and  a  "first"  supplement.  Lond., 
Geo.  Allen,  1877,  5s. 

The  remarks  on  the  Carpaccio  pictures  in  the  little 
Church  of  S.  Giorgio  del  Schiavoni  offer  the  best  in- 
stance possible  of  a  minute  examination  into  the  sup- 
posed esoteric  meaning  of  a  painting  without  reference 
toitsarti  tic  qualities.  The  artistic  merit  of  the  Car- 
paccio pictures  is  never  exceedingly  high  :  for  an  artist 
of  his  time  he  is  not  a  great  master  and  these  pictures 
are  by  no  means  specimens  of  his  best  work.  The  pict- 
ures of  the  history  of  St.  Ursula  in  the  Academy  art 
probably  superior  as  works  of  art,  but  these  and  tne  S. 
Giorgio  pictures  alike,  are  to  be  looked  upon  as  illus- 
trations on  a  large  scale  rather  than  works  of  art  in  a 
high  sense.    The  student  would  be  greatly  misled  who 


caught   Mr.   Ruskin's  enthusiasm  and   who  accepted 
these  pictures  as  in  some  way  models  of  tine  painting. 

045.3 

(ifiDE  TO  THE  Principal  1'icti'res  in  the 
Academy  ok  Fine  Arts  at  Venice.  Lond., 
Allen,  IS.  708.6 

SriDiES  IN  lioTii  Arts  :  Being  Ten  Subjects 
Drawn  and  Described.  Lond.,  Geo.  Allen. 
N.  Y.,  Scribner,  $8.50. 

The  value  of  this  book  lies  in  the  .  cproductions  of 
ten  elaborate  drawings  by  Ruskin.  It  may  be  safely 
assumed  that  the  colored  plates  preserve  much  of  the 
quality  of  the  originals,  as  indeed  the  preface  written 
by  an  assistant  of  the  author  expressly  states.  The 
plates  in  one  color  are  not  difficult  to  make  entirely 
trustworthy  by  means  of  modern  processes.  The  text, 
consisting  of  detached  passages  and  bits  of  description, 
cannot  be  said  to  have  any  independent  value.  The 
cover  announced  as  from  a  design  by  Burne-Jones,  is  a 
curious  instance  of  ornament  completely  misapplied 
and  ineffective.  707 

Saunier,  Charles. 

Ai'c.isTiN  Dm'KE,  Orfevre,  MCdaillei-r  et 
cravecr  oknekai.  dks  Monnaies.  Paris, 
Soci6t6  de  Propagation  des  Livres  d'Art, 
1894.     Nf)  price  published. 

An  excellent  monograph  on  the  work  of  an  artist, 
not  indeed  of  the  first  rank,  but  important  in  his  line. 
The  book  is  included  in  this  list  because  this  art  of  die- 
sinking,  although  a  singularly  important  branch  of 
sculpture  and  highly  developed  in  modern  France,  is 
little  regarded  in  the  English-speaking  world.  The 
book  in  question  is  inexpensive  and  easy  of  access  and 
contains  very  good  illustrations,  photographic  and 
other.  730 

Scott,  Leader. 

Scii.niRE,  Renaissance  and  Modern. 
(Art  Handbook   Series.)     N.  Y.,  Scribner, 

$2. 

A  good  cyclopaedic  .iccount:  many  names  of  sculp- 
tors  and  their  works,  and  much  brief  analysis  of  their 
work  are  given  ;  the  material  is  well  arranged  and  the 
book  is  very  readable  in  spite  of  its  compactness. 
Many  remarks  on  outlying  subjects  are  questionable, 
as  when  the  Moors  are  called  "  finest  architects,"  and 
where  Delia  Robbia  wo'k  is  denied  the  name  of  sculpt- 
ure, and  where  Vischer's  shrine  at  Nuremberg  is  called 
"  late  Gothic,  almost  Romanesque."  In  short,  this,  bke 
most  of  these  hastily  written  English  books,  is  in  a 
general  way  trustworthy,  but  rather  as  a  compilation 
than  as  a  book  by  a  competent  critic.  735 

Fka    BARTOLf)MMEo :    Andrea    Del    Sarto. 

(G.A.S.)     Lond..    i87().      N.   Y.,   Scribner, 

$1.25. 

A  sympathetic  and  careful  biographical  study  of  two 
painters  ;  admirable  artists,  though  of  the  second  rank. 
Other  painters  with  whom  these  two  were  associated, 
each  in  his  turn,  are  mentioned,  and  their  relations  to 
the  chief  subjects  cleverly  pointed  out.  The  whole 
forms  an  interesting  and  valuable  chapter  oi  the  history 
of  the  Renaissance,  or  rather  two  chapters,  one  dealing 
with  the  later  years  of  the  XV.  century  and  the  other 
with  the  earlier  years  of  the  XVL  750.5 

Scott,  William  Bell. 

PicruKKs  liY  Veneiian  Painters.  Lond., 
Routledge,  1S75,     Out  of  print.  759.5 

Picti'res  iiY  Italian  Masters.  Lond..  Rout- 
ledge,  1876.     Out  of  print. 

See  what  is  said  of  this  author  under  other  titles. 
Except  for  certain  oddities  of  appreciation,  Scott  was  a 
good  critic  of  painting  as  well  as  of  the  decorative  arts. 

759.5 

Albert  DOrer  :  His  Life  and  Works  ;  Au- 
tobiographical Papers  and  Complete  Cata- 
logue. Lond.,  Lvingmans,  i86y.  Out  of 
print. 

The  account  of  the  life  and  works  of  DUrei  occupies 
only  193  small  pages  of  large  print.  It  is  a  vigorous 
ancf  sympathetic  biography  ol  a  great  artist,  who  was 
also  a  worthy  man  and  who  lived  a  somewhat  eventful 


Piu'ntiiii^  and  Sculpture. 


35 


accepted 
paintini;. 
945.3 

IN    TIIK 

Lond., 
708.6 


.I.El'R    KT 

I'aris. 
es  (I'Art, 


Lond., 
769.5 

,  Rout- 


lifc.  It  includes  long  extracts  from  the  journal  which 
nUrer  kept  during  his  jimrney  to  the  Netherlands  ;  125 
pages  are  occupied  with  catalogues  of  his  paintings, 
drawings,  and  engravings  on  copper  and  on  wood. 
For  the  general  reader,  not  specially  occupied  with 
German  art  or  with  print  collecting,  this  is  the  best  life 
of  DUrer.  70O 

The  LiTTi.i;  Masters.  (G.A.S.)  l.ond.,  Low, 
1879,  3s.  f)d.     N.  Y.,  Scribncr,  $1.25. 

See  what  is  said  of  this  writer  under  his  "  Life  of 
Albert  Diirer,"  and  elsewhere  In  this  list.  The  sym- 
pathy he  feels  for  the  greater  artists  he  shows  for  the 
minor  ones  as  well. 

The  "Little  Masters"  are  so  called  partly  because 
of  the  very  small  scale  on  which  they  worked,  producing 
little  prints  two  or  three  inches  in  either  dimension. 
They  are  Altdorfer,  H.  S.  Beham,  Barthel  Beham,  Al- 
degrever,  Pencz,  Binck,  and  Brosamer.  Of  these  Bar- 
thel  Beham  is  the  author  of  that  astonishing  print,  the 

fiortrait  of  the  Emperor  Charles  V.,  probably  the  finest 
ine  engraving  in  the  world  (compare  Haden's  "Notes 
on  Etching '')  and  of  the  almost  ei)ually  fine  portrait  of 
Ferdinand,  King  of  the  Romans;  these  are  compositions 
of  less  unusual  dimensions;  but  in  general  the  works 
of  this  master  also  are  very  small  indeed  In  like  manner 
Aldegrever  produced  several  large  prints,  one  of  them, 
tiie  portrait  of  John  of  Leyden,  an  astonishing  master- 
piece, is  reproduced  in  this  book.  760 

Sensier,  Alfred. 

La  Vie  KT  l'CEi'vke  DE  J.  F.  Millet.  Paris, 
Quantin,  iSSi,  50  fr. 

Sensier  was  a  friend  of  Millet's;  after  the  death  of 
both  the  friends,  Sensier's  manuscript  was  published 
by  Paul  Mantz.  A  good  part  of  the  text  of  this  book 
has  been  published  in  English  by  The  Macmillan  Co  , 
for  which  the  reader  is  referred  to  the  book  named  under 
Cartwright.  The  original  work,  however,  must  always 
be  of  especial  interest  to  lovers  of  the  refined  and  essen  ■ 
tially  sympathetic  art  of  Millet  The  volume  is  a  per- 
fect picture  gallery  of  his  work,  as  it  contains  twelve 
large  plates  and  fifty  minor  illustrations,  all  of  excellent 
quality.  759.4 

Sharp,  William. 

Dante  Gahriei,  Rossetti  ■  a  Record  and  a 
Study.  N-  Y..  Macmillan,  1882.  Out  of 
print. 

The  most  nearly  satisfactory  life  of  the  poet  and 
painter ;  contains  also  the  best  general  account  of  the 
pre-Raphaelite  movement  Compare  the  book  by  Esther 
Wood  and  the  Portfolio  Monograph  by  F.  G.  Stephens. 

759.2 

Shedd,  Julia  A. 

Famois  Painters  and  Paintings.  4th  cd., 
revised  and  enlarged.  Host.,  Houghton, 
i8()C),  $2. 

Purports  only  to  be  a  series  of  brief  biographical 
sketches  of  about  200  paintersof  all  epochs,  from  Ciiotto 
to  Ingres,  but  it  will  be  found  to  contain  very  sensible 
discussion  of  the  merits  and  peculiarities  of  these  men 
and  the  circumstances  of  their  times.  A  popular  book, 
but  a  good  one.  750 

Famous  Srn.rTORs  and  Sci;lptitre.  New 
ed.,  revised  and  enlarged.  Illus.  Host., 
Houghton.  iS(/),  §2. 

See  what  is  said  of  this  author's  work  on  "  Painters 
and  Painting."  The  present  work  is  a  companion  vol- 
ume. 730 

Signorelli,  Luca.     Sec  Vischer,  L. 

Smith,  F.  Hopkinson. 

American  Ilhstrators.  Illus..  in  5  parts. 
N.  Y.,  Scribner,  1892,  $15. 

Contains  colored  as  well  as  black  and  white  pictures, 
most  of  them  of  merit.  The  illustrators  whose  work  is 
treated  ol  are  twenty  or  more  in  number,  including 
E.  A.  Abbey,  Howard  Pyle,  A.  B.  Frost,  Fred.  Rem- 
ington, Will  H.  Low,  Winslow  Homer,  Kenyon  Cox, 
Elihu  Veddcr,  and  the  author  himself.  Mr.  Elbridge 
Kingsley,  the  wood-engraver,  is  also  represented  by  a 
print  from  a  block  engraved  direct  from  nature  Those 
who  have  not  followed  the  development  of  American 
book-illustration  may  be  surprised  at  the  amount  and 
variety  of  the  work  recorded  here.  Compare  what  is 
said  under  Morin's  "  French  Illustrators.  "        655.53 


Spielman,  M.  H. 

HisTDRY    fiE   PiDuh.      Lond.,   Cassell,    i8<)?, 

lf)S. 

The  journal,  Punchy  now  in  its  fifty-sixth  year  of 
publication,  contains  the  larger  part  of  the  work  of 
several  great  -irtists  in  black  and  white,  and  of  several 
minor  ones,  who  are  also  admirable  designers.  They 
include  Charles  Keene,  one  of  the  most  original  artists 
of  the  century ;  John  Leach,  the  possessor  of  great  and 
very  unusual  gifts;  Lindley  Sambourne,  a  arau(>hts- 
man  who  has  developed  by  himself  a  wholly  unique 
system  of  pen  drawing,  and  whose  powers  of  grotesque 
and  allusive  designs  are  unmatched  ;  I)u  Maurier,  the 
well-known  portrayer  of  refined  society  and  its  gro- 
tesque side ;  Richard  Doyle,  the  greatest  caricaturist 
there  ever  was  who  could  not  draw  the  figure,  as  this 
writer  has  said  elsewhere.  This  book  treats  these 
artists  and  their  work  in  a  very  judicious  and  critical 
manner  ;  while  it  has  too  much  praise  for  the  compara- 
tively unimportant  work  of  Sir  John  Tenniel,  and  can- 
not, of  course,  be  expected  to  do  justice  to  the  few  total 
failures  among  Puncl^s  artists,  yet  the  pages  from  409 
to  558  may  be  taken  together  as  an  admirable  and  most 
suggestive  treatise  on  the  illustrative  art  in  black  and 
white  of  the  last  fifty  years  in  England.  741 

Posters,  and  Poster  Designinc.  in  Eng- 
land, in  "The  Modern  Poster."  N.  Y., 
Scribner.  1895. 

The  attempts  m  England  to  make  posteis  artistic 
date  back  nearly  thirty  years,  although  they  were  not 
followed  up  very  steadily.  The  present  tendency  is 
rather  towards  the  Parisian  style,  although  the  one  by 
"  Weirdsley  Daubrey,"  as  well  as  those  it  imitates,  cou'd 
only  have  been  produced  in  England.  The  illustra- 
tions, like  those  of  the  other  three  articles  in  this  book, 
are  of  great  interest  and  beauty.  740 

Stendhal,  De  (Henri  Beyle). 

Histoire  de  la  Peinture  en  Italie.  Paris, 
Levy  frferes,  1853,  3  fr. 

An  account  of  Italian  painting  from  the  standpoint 
of  a  sagacious  and  enlightened  siudent  of  the  early  part 
of  the  century.  The  works  of  Rio,  Lanzi,  and  Lord 
Lindsay  are  to  be  compared  with  this ;  although  De 
Stendhal  docs  not  undertake  the  same  minute  examina- 
tion into  individual  works  of  art,  his  study  ot  painting 
IS  not  the  less  useful.  759.5 

Stephens,  F.  O. 

Dante  Gahriel  Rossetti.  Portfolio  Mono- 
graph.  May.  1S94.  Lond.,  Seeley  \  Co. 
N.  Y..  Mactnillan,  75  c. 

Perhaps  the  most  adequate  treatise  on  the  artist  and 
poet  which  exists.  It  is  certainly  the  most  richly  illus- 
trated, and  the  illustrations  are  expressive  of  Rossetti's 
qualities  as  a  painter  beyond  what  could  be  expected 
in  such  a  case.  It  appears,  too,  that  there  has  been  re- 
markable success  in  bringinij;  together  types  of  the  dif- 
ferent styles  of  Rossetti's  painting  and  drawing. 

759.2 

Stevens,  Alfred.     .SVr  Armstrong,  W. 

Stevenson,  R.  A.  M. 

The  Art  OK  Velasquez.  Illus.  Lond.,  Geo, 
Bell  iS:  Sons.     N.  Y.,  Macmillan,  1S95.  ?iS. 

A  small  book  made  large  by  large  type  and  broad 
margins.  It  is  a  treatise  on  the  painter's  art  from  the 
point  of  view  of  one  who  thoroughly  understands  how 
abstract  a  thing  that  art  is,  how  much  a  matter  of  con- 
vention, and  how  completely  the  i)aintcr  speaks  a  Ian 
guage  which  is  not  that  of  literature.  Velasquez  is 
taken  as  the  great  type  of  all  true  painters.  This  valu- 
able essay  might  be  and  should  be  published  also  in  a 
small,  inexpensive  volume,  but  such  a  volume  could  not 
contain  the  20  tine  photogravures  nor  the  43  lull-page 
half-tone  illustrations  which  make  this  a  museum  ot 
Velasquez's  works.  759  6 

Stranahan,  Mrs.  C,  H. 

History  ok  French  Painting  from  Its 
Earliest  to  Irs  Latest  Practice,  includ- 
ing an  account  of  the  F"rench  Ac.;deniy  and 
its  Schools  of  Instruction.  Illus.  N.  Y., 
Scribner,  $3.50. 
As  the  French  schools  of  painting  have  been  for  a 

century  and  a  halt  the  most  important  body  ot  graphic 


>>.<'t;' 


'H-  :' 


36 


Painting  and  Sculpture. 


m 


Li-i>! 


f^\>< 


art  in  Europe,  steadily  growing  in  an  orderly  sequence, 
this  book,  which  relates  the  external  history  of  this 
growth  and  appreciates  and  qualities  it  very  justly,  is 
important  to  all  students.  There  are  errors,  but  the 
work  IS  surprisingly  accurate  in  the  main,  and  is  full 
in  detail.  It  incluoes  a  careful  history  of  the  French 
Government's  influence  and  control  of  the  Fine  Arts. 
See  also  "  Meissonier  and  the  Salon  Julien  "  in  George 
Moore's  "  Impressions  and  Opinions  "  in  this  list. 

759.4 

Stuart,  Oilbert.    See  Mason,  G.  C. 

Sturgis,  Russell. 

Articles   i\  Johnson's    Univkrsai.  Cyci.o- 
I'.-EDiA.     Ed.  1893-5. 
Chiaroscuro  —  Drawing  —  Engraving  —  Ilm'stra- 

TION  —  ImFRESSIONISM    —    LiTHOGRAPHV   —    PAINTING  — 

ScLLPTURE  — Wood-Carving— Wood-Engraving. 

See  also  some  of  the  biographies  of  artists  in  the 
same  Cyclopaedia. 

See  also  Part  I.  of  this  list. 

STveetser,  M.  F. 

Artist  Bkx-.kaimiies.  New  ed.,  with  illus. 
Bost.,  HouRhtun,  i8(/),  7  v.,  $8.75.  Sold 
only  in  sets. 

Lives  of  Raphael,  Leonardo,  Angelo,  Titian,  Claude, 
Reynolds,  Turner,  Landseer,  Durer,  Rembrandt,  Van 
Dyck,  Angelico,  Murillo,  and  Alston.  Rather  popular 
in  treatment.  The  latest  information  seems  to  have 
been  used  in  preparing  these  biographies.  700 

Thausing,  Moritz. 

DOrer  Gesciiichte  seines  Lehens  UNO  seiner 
Ki'NST.  Leipzig,  E.  A.  Seeman,  1876,  30 
marks. 

Probably  the  standard  work  on  Albert  DUrer,  and 
should  be  translated  into  English.  The  illustrations 
are  valuable  but  not  very  numerous.  It  would  be  easy 
to  make  an  English  edition  much  fuller  in  this  respect. 
Compare  the  work  by  W.  B.  Scott.  7OO 

Thirion,  H. 

Les  Adam  et  CLoniON.  Paris,  Quantiii, 
18S5,  50  fr. 

Devoted  to  artists  of  the  XVIII.  centurv  who  are 
little  known  outside  of  France,  except  as  a  few  terra- 
cotta groups  are  shown  in  collections,  or  in  sales,  under 
the  name  of  Clodion.  The  fine  art  of  this  late  period, 
commonly  spoken  of  as  Art  of  the  Decline,  or  as  Ro- 
coco, or  Baroque,  is  commonly  disregaided  as  lack- 
ing in  purpose  and  even  in  good  taste.  The  student  of 
art  must  learn  to  disregard  these  common  ascriptions 
and  find  out  for  himself  what  good  there  is  in  art  not 
generally  esteemed.  The  illustrations  are  numerous, 
and  are  almost  enough  in  themselves  to  supply  the  in- 
formation needed.  735 

Thomson,  D.  O. 

Corot.  The  Rardizon  School  ok  Painters. 
With  50  illus.     Lond.,  Simpkin,  1892,  15s. 

Chiefly  valuable  for  its  illustrations.  Corot 's  work 
when  given  without  color  is,  of  course,  representative 
of  only  a  part  of  his  peculiar  genius.  Photographs 
from  nis  paintings  are^  however,  valuable,  much  as  his 
own  etchings  are.  They  represent  better,  perhaps, 
than  any  other  portable  and  easily  accessible  pictures, 
the  modern  school  of  painting  which  nearly  ignores 
subject  in  the  sense  of  portraits  of  particular  scenes— 
the  school  which  has  lea  into  Impressionism. 

759.4 
Thombury,  Walter. 

Life  ok  J.   M.  W.    Turner.      N.   Y.,   Holt, 

1877,  $2. 

Needed  in  connection  with  Hamerton's  more  sym- 
pathetic and  critical  life,  because  of  its  tabular  refer- 
ence to  the  work  of  the  artist.  759.2 

Tintoretto.     See  Osier,  W.  R. 

Titian.     See  Sweetser,  M.  F. 

Turner,  J.  M.  W.     .SV<'  Hamerton,  P.  G. ;  Sweet- 
ser, M.  F. ;  and  Thombury,  W. 


Upcott,  L.  13. 

Introduction  to  Greek  Sci'i.rTt'RE.  N.  Y., 
Macmillan,  1887,  Si. 10. 

One  of  several  books  which  have  been  published  as 
companions  to  a  small  museum  of  casts,  or  a  collection 
of  photographs.  Valuable  in  itself  as  a  rather  full  ac- 
count of  a  few  important  sculptures,  pictures  of  which 
occur  in  many  books.  If  it  were  desired  to  get  a  few 
casts  or  photographs,  they  might  well  be  purchased  ac- 
cording to  the  list  given,  p.  g-ia.  733 

Vachon,  Marias. 

jAC(.)rES  Callot.  (L.A.C.)  Paris,  Librairie 
de  I'Art,  1886,  6  fr. 

Callot  was  an  etcher  and  engraver  of  the  early  years 
of  the  XVII.  century;  his  work,  though  by  no  means 
of  the  highest  .ank,  should  yet  be  studied  by  every  one 
interested  in  aiL  which  speaks  strongly  of  its  epoch. 
Nothing  can  exceed  the  frankness  and  uncompromising 
truth  ofthe  artist's  intentions;  he  is  absolutely  fearless 
and  unreserved  whether  he  is  describing  a  scene  of  war- 
like violence  and  outrage,  or  a  peaceful  scene  in  old 
Pans,  or  is  engaged  in  representing  'he  costumes  of  his 
time.    Illustrations  well  reproduced  from  the  originals. 

760 

Van  Dyck,  A.     See  Guiffrey,  J.;  Michiels,  A.; 
(:«(/ Sweetser,  \L  F 

Van  Dyke,  John  O. 

Art  kor  Art's  Sake.  Seven  University  Lect- 
ures on  the  Technical  Beauties  of  Painting. 
Illus.     N.  Y.,  Scribner,  §1.50. 

Of  much  value,  because  it  explains  in  very  simple 
language  and  in  detail  how  a  painter  conceives  a  pict- 
ure and  goes  to  work  at  it,  and  how  he  looks  at  the 
pictures  which  he  and  other  artists  have  produced. 
Should  be  read  with  -arc  as  if  a  text-book  of  the 
painter's  trade.  750 

How  to  Jciice  a  Picture  :  Familiar  Talks 
in  the  Gallery  with  Uncritical  Lovers  of 
Art.     N.  Y.,  Hunt  \  Mains,  60  c. 

A  manual  containing  useful  hints,  but  nothing  that 
IS  not  better  given  in  "Art  for  Art's  Sake."  Its  general 
tendency  is  to  be  approved.  750^ 

History  ok  Paintinc.  N.  Y.,  Longmans, 
1895,  $1.50. 

One  of  a  series  of  three  volumes  (see  Hamlin,  and 
Marquand  and  Frothingham).  This  work  divers  the 
range  of  European  art  and  what  preceded  it,  from  Per- 
sian enamel,  tile,  and  Egyptian  wall  painting,  to  the 
American  work  of  to-day.  Each  chapter  is  preceded  by 
a  bibliography  concerning  the  period,  followed  by  a 
list  of  the  important  works  of  art  of  the  same  period. 
The  general  bibliography  before  the  Introduction  is  in- 
comiilete,  and  contains  some  works  which  are  not  trust- 
worthy. 750 


Velasquez. 

Lefort,   P. 
R.  A.  M. 


:v    Armstrong,    \V.;    Jusii,    K.; 
Michel,    Emil;  and  Stevenson, 


Vernet,  Horace.     See  Rees,  J,  Ruutz. 

Veron,  Eugene. 

Euc.enk  Delacroix.  (L.A.C.)  Paris,  Li- 
brairie de  I'Art,  18S7,  8  fr. 

Eugene  Delacroix  was  the  celebrated  leader  ofthe  so- 
called  romantic  movement  in  France  under  Louis  Phi- 
lippe. For  men  of  our  time  his  fame  depends  chiefiy 
upon  his  work  as  a  colorist ;  it  cannot  be  said  that  his 
gift  in  this  way  is  adequately  treated  in  the  book  before 
us.  That,  however,  is  a  most  difficult  and  unusual 
thing  to  find  in  any  art  criticism.  This  book  gives  a 
good  biography  of  the  man  and  description  of  his  work, 
with  many  useful  illustrations,  759.4 

Viollet-le-Duc,  E.  E. 

Hisi'oiRE  d'un  Dessinatei'R.  Transl.  as 
Learninc.  to  Draw  ;  or,  The  Story  of  a 
YouNc;  Desic.ner.     N.  Y.,  Putnam,  $2. 

Under  the  form  of  a  biography  of  a  young  man  of 
natural  good  ability  as  a  draughtsman  and  designer. 


N.  Y., 


Painting  and  Sculpture. 


17 


but  not  of  ureal  Kcnius,  the  rinht  way  of  studying  art 
practically  is  considered,  and  iruch  wise  suggestive  ad- 
vice given.  740 

Vischer,  L. 

LrcA  SKiNnRKi.i.i  fNii  DiK  Itai.ianisciik  Rk- 
NAissANCK.  Lcipsic,  Veil  &  Comp,  1S79,  10 
marks. 

The  part  of  Luca  Signnrelli  in  the  Italian  Renais- 
sance is  inadequately  stated  in  most  works  on  the  sub- 
ject ;  on  that  account  this  book  is  peculiarly  important 
to  students.  1  f,  however,  the  large  work  of  .MUntz  is 
at  hand  this  special  work  is  nut  so  indispensable 

759.5 

Vosmaer,  O. 

Rkmiikandt,  sa  Vie  et  ses  CEi'vres.  La 
Ilayc,  Martinus  Nyhoff,  1^77,  10  florins. 

The  first  work  in  which  Rembrandt  was  given  a  per- 
sonality which  could  be  understood.  Mr.  VVismaer  nad 
made  fruitful  researches  which  resulted  in  identifying 
Rembrandt  with  his  native  city,  and  with  recording 
the  chief  events  of  his  life  in  a  way  not  before  possible. 
Much  of  this  narrative  is  valuable  to  the  student  as 
showing  how  Rembrandt  was  regarded  during  his  life 
and  his  position  in  relation  to  his  contemporaries. 

See  Mollett,  J.  W.,  for  a  small  book  based  upon  this. 

759.9 

Waldstein,  Charles. 

CAiAi.odrE  OK  Casts  in  the  Museum  of  Clas- 
sical Arch.'coloKy  of  the  Fitzwilliam  Mu- 
seum, Cambridj.;e,  England.  Lund.,  Mac- 
millan,  i88y,  is.  6(1. 

A  smaller  book  of  the  same  general  character  as  that 
of  Mr.  I'pcott.  It  would  be  useful  in  connection  with 
that,  or  without  it.  730 


Walker,  Frederick. 


Phillips,  C. 


Watteau,  Antoine.     Sec  Phillips,  C. 

Wauters,  A.  J. 

Peimtre  Flamandf..  (B.E.R.A.)  Paris, 
yuantin,  5  fr.  Transl.  by  Mrs.  H.  Rossel 
as  The  Flemish  School  of  Painti.nc;. 
N.  Y.,  Cassell,  18S5,  $2. 

The  English  translation  is  out  of  print.  Like  all  the 
books  of  this  series,  the  French  original  is  valuable. 

759.9 

Wedmore,  Frederick. 

ErcHiNC.  IN"  Enc.i.a.M)  ;  with  50  illus.  Lund., 
Geo.  Hell  &  Sons.  N.  Y.,  Macniillan,  iS(_)5, 
$3.50. 

Treats  the  art  of  etching  as  it  has  existed  in  England 
during  the  present  century,  in  brief  notices  of  its  differ- 
ent masters,  such  as  Turner,  Wilkie  Geddes,  Palmer, 
Haden,  Whistler,  Legros,  and  others.  The  reproduc- 
tions are  not  all  of  equal  excellence,  and  some  are  de- 
fective.   Useful  for  reference.  767 

Willard,  Ashton  R. 

Sketch  of  the  Life  and  Work  of  the 
Painter  DomenicoMorelli.  Host. .Hough- 
ton, i8(j5.  Si. 25. 

Valuable  as  a  monograph  on  an  artist  little  known 
in  America  and  as  a  contribution  to  the  history  of  the 
contemporary  art  of  Italy.  Even  if  Morelli  is  not  so 
important  a  painter  as  the  author  of  this  book  takes 
him  to  be,  this  would  be  a  valuable  treatise  and  one 
full  of  instruction  as  to  modern  art.  There  are  eight 
chctograuhic  illustrations  from  Morelli's  works. 

759.5 


Willshire,  William  Hv.ghes. 

Introdi'ction  to  the  Sti'dy  Asn  Collec- 
tion OF  Ancient  Prints.  Lond.,  Ellis  & 
White,  1877,  2  V.     Out  of  print. 

There  are  curious  omissions  from  this  work,  but  it  is 
in  spite  of  them  the  best  book  there  is  for  the  beginner 
in  the  study  or  purchase  of  old  prints.  It  is  not  ol  un- 
reasonable cost.  760 


Wilson,  O.  Heath. 

Article     Fresco, 
9th  ed. 


Encyclopredia    Hritannica, 


Woltmann,  Alfred,  and  Woermann,  Karl. 

History  of  Paintinc.  Vol.  L,  Ancient, 
Early  Christian,  and  Media'val  Paintings  ; 
edited  bv  Sidney  Colvin.  N.  Y.,  Dodd, 
Mead  &  Co.  Wi'th  Vol.  IL,  I20  ;  Students' 
Edition,  S7.50. 

The  nrst  part  of  a  general  history  of  painting,  the 
best  at  present  accessible  in  English.  It  has  been 
condensed  from  the  German  original ;  there  are  many 
illustrations,  and  the  book  is  certainly  useful,  how- 
ever much  it  laciv  in  picturesqueness  01  narrative  and 
originality  of  insight.  759 

Vol.  IL,  The  Painting  of  the  Renascencf.. 
Transl.  by  Clara  Hell.  N.  Y.,  Dodd,  Mead 
&  Co.  With  Vol.  L,  $20;  Students'  Edi- 
tion, $7.50. 

The  second  part  of  the  work  named  last  above.  This 
v.olume  contains  a  great  many  illustrations,  not  of  great 
excellence  or  beauty  in  themselves,  but  of  well-chosen 
subjects  and  useful  for  reference.  It  is,  perhaps,  the 
best  history  of  Renaissance  painting  in  the  English 
language.  There  is  an  index  to  this  and  the  preceding 
parts,  but  this  is  not  sufficiently  complete  to  make  their 
contents  easily  accessible.  759 

Wood,  Esther. 

Dante    Rossetti,    and    the    Pre-Raphaelite 


Movement. 

$3- 


Illus,     N.  Y.,  Scribner,   1S94, 


An  accountof  pre-Raphaelitism,  "  more  as  an  ethical 
than  an  a;sthetic  revolution,"  as  the  preface  states. 
There  are  eight  photographic  illustrations  on  a  small 
scale,  but  important.  Compare  what  is  said  of  Sharp's 
'Life  of  Rossetti"  and  Stephen's  "Portfolio  Mono- 
graph." 759.2 

Wood,  H.  Trueman. 

Modern  Methods  of  Illi-stratint,  Rooks. 
N.  Y.,  A.  C.  Armstrong  &  Son,  18S7,  Si. 25. 

A  handbook  of  the  many  photographic  and  other 
processes  lately  introduced.  Compare  the  "  Illustra- 
tion of  Books"  by  Mr.  Pennell.  655.53 


Yriarte,  Charles. 

Paul  Veronese.     (L.A.C.) 
de  I'Arl,  1S88,  fr.  6.50. 


Paris,   Librairie 


While  waiting  for  an  adequate  book  on  this  giant  of 
painting  the  present  little  monograph  will  serve  our 
turn  very  well.  The  author  is  well  known  for  his  large 
monographs  on  Rimini,  Florence,  and  Venice,  and 
other  books  on  artistic  subjects.  This  book  contains  a 
great  many  illustrations,  some  of  them  useful  outlines 
of  the  large  compositions  of  Veronese.  759. 5' 


I 

i 


PART   III. 


ARCHITECTURK   AND    LANDSCAPE   GARDENING, 


I'RF.I.IMINAKY    NOTK. 

Although  Architecture  is  ii  Decorative  Art, 
and  should  logically  be  put  under  that  head 
■(see  Pyifiitory  Xotc),  it  is  more  convenient  to 
treat  it  separately,  esjjecially  because  of  the 
enormous  number  and  importance  of  the  books 
in  many  languages  which  are  devoted  to  archi- 
tecture alone.  Of  these  liooks  but  a  small 
number  are  in  English,  either  in  their  original 
form  or  in  translation  ;  and  of  the  books  which 
arc  in  English  only  a  very  few,  and  those  not 
often  valuable,  are  of  moderate  cost. 

The  Fine  Art  of  Architecture  has  a  curious 
history.  From  the  earliest  historical  times  to 
the  XV.  century  there  was  a  general  tendency 
for  styles  to  develop  naturally  and  spontaneously 
one  out  of  another.  One  style  would  perhaps 
disappear  in  a  time  of  conquest  and  in  the 
ruin  of  the  civilization  wliich  had  created  it  ; 
then  the  conquerors,  perhaps  after  a  long  time 
of  little  artistic  production,  would  evolve  a  new 
style.  Occasional  attempts  were  made  to  re- 
vive a  style  of  former  times,  but  these  were 
never  of  much  importance.  In  the  XV.  cen- 
tury, however,  a  deliberate  attempt  was  made 
in  Italy  to  return  to  the  style  of  the  Roman 
Empire  ;  that  is,  to  the  system  of  architectural 
decoration  seen  in  the  ruined  buildings  of  about 
the  years  50  to  350  a. D..  found  in  Italy  and  in  ' 
other  countries  <jn  the  Mediterranean.  This 
was  caused  less  by  admiration  of  the  beauty 
of  those  structures  than  by  reverence  for  the 
mighty  traditions  of  the  Roman  Empire,  and 
by  the  revival  of  classical  learning  which  was 
going  on  at  the  same  time.  All  this  is  to  l)e 
studied  in  treatises  upon  the  Renaissance.  The 
style  of  architecture  so  created  by  deliberate 


effort  was  at  first  in  the  hands  of  most  able 
artists,  accomplished  sculptors  anil  ])ainters, 
and  it  had  a  fresh  and  original  lieauty  of  its  own. 
Soon,  h<jwever,  it  grew  to  be  a  more  nearly 
exact  copying  of  tlie  ancient  structures.  In  dif- 
ferent forms  this  artificial  style  went  on  develop- 
ing itself  through  the  XVI.,  XVII.,  and  XVIII. 
centuries.  During  all  these  years,  as  in  previous 
times  of  more  natural  styles  of  architecture,  no 
man  would  build  in  any  other  style  than  the  one 
accepted  ;  but  since  the  French  Revolution  all 
has  been  chaos. 

The  books  and  articles  on  Archaeology  are 
apt  to  contain  much  infi>rmation  a))(;ut  archi- 
tecture, but  it  is  to  be  observed  that  their  writers 
have  generally  no  experience  either  in  building 
or  in  designing  buildings. 

Architecture  is  so  complex  an  art  that  positive 
and  peremptory  opinions  ai)out  it  should  be 
mistrusted,  from  whatever  source  they  come. 
Nearly  all  great  excellences  in  the  art  bring 
their  errors  and  faults  with  them  ;  more  than 
the  fine  arts  proper,  architecture  is  a  series  of 
compromises,  and  the  lust  has  to  be  given  up 
very  often  for  the  second  best. 

The  attention  of  students  is  called  to  the  Avery 
Architectural  Library  at  Columbia  University, 
New  York.  Mr.  Samuel  P.  Avery  and  his  wife 
have  founded  this  library  as  a  memorial  to  their 
son,  Henry  O.  Avery,  an  architect,  who  died  in 
1S90.  More  than  fifty  thousand  dollars  have 
already  been  given  to  this  foundation,  expended 
in  books  and  periodicals  on  architecture  and 
(lecoralive  art.  The  choice  of  books  has  been 
careful.  The  library  is  accessible  to  all  |)ersons, 
both  i)y  day  and  in  the  evening,  except  on  Sun- 
days.    For  catalogue  see  under  Avery. 


Academy  Architecture:  An  Annual  Architect- 
ural Review,  published  by  "Academy  Ar- 
chitecture," Lond.,  18S9  and  subsequent 
years.     N.  Y.,  Scribner,  §2  each. 

Each  annual  issue  of  this  book  forms  a  small  quarto, 
Published  at  a  low  price  and  containing  half-tone  and 
line-cut  pictures  of  architectural  drawlntrs  shown  in  the 
annual  exhibitions  of  London,  Edinburi^h,  and  Glas- 
gow;  together  with  plates  of  buildlnus  and  details 
which  have  been  actually  carried  out.  It  is  not  to  be 
supposed  that  all  or  half  of  the  designs  here  itiven  are 
really  meritorious,  but  the  selection  is  remarkably  good, 
and  any  library  may  be  the  better  for  such  an  annual 
gathering  of  the  better  class  of  modern  architectural 
designs.  720.5 

Adamy,  Rudolf. 

ARCEHTKKTdMK    AI'K    HISTORISCIIER    r.M)    .KS- 

IIIKIISLHER  Grindlage.     Hannover,  Hel- 


wing,  iSS3-</),  2  v.,  and  part  I  of  V(j1.  ill., 
32  marks,  15  pfgs. 

This  history  of  architecture  stopiB  with  the  early 
Renaissance.  Divided  into  convenient  parts,  which 
may  be  bound  separately.  A  systematic  history,  with 
a  great  many  examples  not  given  in  other  works.  It 
should  be  translated,  but  its  numerous  illustrations, 
and  the  Roman  type  in  which  it  is  printed,  make  it 
useful  to  persons  with  even  a  slight  knowledge  of 
German.  720.0 

Architecture,  Academy.     .SV<'  Academy. 

Avery  Architectural  Library,  Catalogue  of 
the ;  Columbia  University,  New  York. 

N.  Y.,  Macmillan,  1895,  $10. 

A  large  volume,  very  handsomely  printed  on  thick 
paper,  containing  1139  pages  besides  the  Introduction. 
It  IS  a  catalogue  of  titles  and  authors  only,  as,  indeed, 


Architecture  and  Landscape  Gardenia;^. 


39 


was  inevitable,  for  a  subject  catalnijuc  of  any  utility 
is  necessarily  a  work  of  slow  growth.  When  this  cata- 
loKUc  was  printed  the  Library  tontained  13,000  vol- 
limes,  and  it  will  be  recollocteil  that  volumes  Of  archi- 
tecture and  decorative  art  are  of  a  hinh  average  of 
size  and  cost.     See  preliminary  note  to  Part  III. 

720.8 

Billings,  Robert  William. 

AK<ll!IF.(rt.'R.VI,  Il.I.l'STRATIONS,  lIlSTOKY  .\NI) 

UkscKII'TIdN-  (IK  Caki.isik  Catiikdkai..  II- 
lus.  L(jnd.,  T.  iS:  W.  lionnc,  1S40.  Out 
(if  print. 

Durinff  the  years  before  1850  many  carefully  made 
books  had  been  issued  in  KnKland  in  which  were  con- 
tained free-hand  and  measured  drawings  of  the  mcdi- 
leval  buildings  of  (Ireat  Kritain.  These  books  were  a 
powerful  aid  to  the  movement  which  we  call  the  Gothic 
Revival,  which  has  filled  (Jreat  Britain  and  her  depen- 
dencies with  churches  and  civicand  domestic  buildings 
desi(;ned  in  some  form  of  the  Pointed  Style.  Of  the 
earlier  books  those  of  nillinijsare  the  best  on  account 
of  the  beauty  and  the  generally  undisputed  accuracy  of 
the  engraved  plates.  Thisvolumeisa  sufficiently  com- 
■)lete  monograph  of  an  English  Cathedral  as  it  was 
lefore  the  restorations  were  undertaken  which  formed 
a  part  of  the  recent  Gothic  movement,  and  which  have 
often  done  irreparable  injury.  Photographs  arc,  of 
course,  better  than  the  best  free-hand  drawings,  but 
photographs  cannot  alivays  be  had,  taken  from  the 
Siime  point  of  view.  The  measured  drawings,  espe- 
cially the  ])lans,  cannot  be  replaced.  723 


t 


ARCIIITECTfRAI.  Il.I.rSTRATIONS  AND  DkSCRII'- 
TIONS  OK  TIIK  CaTUKDRAI.  ChIRCII   OK  DlK- 

HAM.     Lond.,  T.  iS:  \V.   Honne,  1S43.     Out 
iif  i)rint. 

See  what  is  said  in  the  note  next  preceding.  The 
Cathedral  of  Durham  is  an  especially  interesting  one. 

723 

Blomfield,  Reginald,  and  Thomas,  F.  Inigo. 

Thk  Format,  Gardkn  in  England.  Illus. 
N.  Y.,  Macmillan,  1892,  S3. 

A  most  interesting  treatise  on  such  ornamental  gar- 
dens as  are  architectural  in  their  character,  with  ter- 
races, flights  of  steps,  straight  walks,  fountains,  and 
the  like.  The  author  claims  for  such  gardens  a  superi- 
ority when  associated  with  buildings  of  dignified  char- 
acter.   Compare  Robinson's  "Garden  Design,"     712 

Boito,  Camillo. 

Arciiitktti'ra  dki.  Mkpio  Evo  in  I  iai.ia. 
Milano,  Ulrico  Ihjepli,  iSSo,  10  lire. 

The  Italians  are  beginning  to  write  the  history  of 
their  own  fine  arts  of  the  past,  a  subject  that  has  been 
left  hitherto  to  foreigners.  It  is  of  course  very  imiJor- 
tant  for  the  student  to  possess  and  understand  the  view 
which  each  peopletakesof  its  own  achievements.  Thus 
the  question  of  the  origin  and  nature  of  that  Italian 
Gothic  art,  which  the  Northern  nations  think  so  inferior 
to  their  own,  should  be  studied  from  the  Italian  point 
of  view.  723 

Brown,  Albert  F.,  umi  Isham,   Norman   M. 

Early  Rikidk  Isi..\M)  Hoisks.     5iv  Isham. 

Butler,  Alfred  J. 

Ancik.ni'  Corric  Cihrciiks  ok  Ehypi'.  O.k- 
ford,  Clarendon  Press.     N.  Y.,  .Macmillan. 

1SS4,  2  v.,  $7.50. 

A  piece  of  close  personal  research  into  ancient  Chris- 
tian churches  in  Egypt.  The  subject  seems  more  cal- 
culated for  the  special  student  of  architecture  than  for 
the  general  reader,  but  the  book  will  be  found  exceed- 
ingly interesting,  the  churches,  with  their  paintings 
and  furniture,  well  worth  reading  about,  and  the  whole 
an  admirable  introduction  to  Christian  ecclesiology. 

722 

Oattaneo,  Raffaele. 

L'Arciiitettira  in  Italia  pal  secoi.o  VI. 
AL  MII.LK  circa.  Ricerchi;  st(iric(j-critiche. 
Vonczia,  Onijania,  1888,  12  lire.  French 
edition,  15  lire.  Transl.  by  the  Contessa 
Isabel  Curtis-Cholmeley  in  Hermani,  as 
Architecture  in  Italy  krom  the  Sl\th 


I'o  vnv,  Ei.KVKNiii  Cknii  RY  :  Historical 
and  Critical  Researches.  I'lmtiinravtire 
frontispiece  and  over  100  illus.  Lonil.,'!'. 
Fisher  Unwin,  iS()fi,  21s. 

Devoted  to  that  very  early  period  of  the  Italian 
Romanesque  in  which  the  Hy/antinc  influence  '  very 
strong.  See  what  is  said  above  about  ihe  book  oy  Ca- 
millo Hoito;  also  what  is  said  about  Hyziinline  art  in 
discussing  books  by  Hayet.  Compan;  also  the  nole  on 
Mr.  Goodyear's  "  Investigations  of  Italian  Uuilding." 

723 

Chateau,  Leon. 

IllsroiKE  ET  CaRACTi'-.RES  DK  l.'.AKCliriKCirKK 

EN  France.     I'aris,  A.  M(jrel  iv:  Cie.,  18(14, 

fr.  7- 50. 

A  valuable  book.  It  contains  but  few  illustrations,, 
no  index,  no  bibliography,  but  few  and  brief  lists  of 
buildings  of  any  e|)och,  and  its  division  is  into  a  few 
long  chapters.  It  has,  therefore,  none  of  the  aids  to 
quick  reading  and  easy  compichension  which  are  now, 
very  properly,  in  vogue  ;  it  is,  moreover,  in  rather  fine 
print.  It  remains,  however,  the  best  narrative  of  ar- 
chitectural history  of  a  given  nation  or  epoch  which 
exists.  7  24 

Oorroyer,  Bdouard. 

L'ARi'iHTEcrL'REGoTiiiQfE.  (H.E.H.A.)  Par- 
is, Quantin,  5  fr.  Transl.  as  Goimc  Ar- 
cmiECTrRE.  Edited  by  Walter  Armstron>{. 
N.  Y.,  Macmillan,  1893,12. 

A  very  good  account  of  the  origin  and  growth  of  the 
great  styles  of  Western  Europe,  from  1150  to  1500,  with 
useful  illustrations.  It  1:*  the  work  of  a  very  competent 
•nan,  and  should  be  studicij  with  care.  723.5' 

L'Arciittecture  Romane.  (H.E.H..A.)  Paris, 
guantin,  18SS,  5  fr. 

This  excellent  little  book  should  be  studied  in  con- 
nection with  the  same  author's  "  Gothic  Architecture," 
which  is,  of  course,  its  sequel.  It  is  to  be  hoped  that 
this  book  on  "  Romanesque  Architecture  "  will  also  be 
translated.  723.4 

Descrii'iion  I)E  i.'AnnAYE  Mont  Saint-Mi- 
chel El'  i>E  SES  AiioRDs,  prec6d6e  d'une 
notice  histori(|ue.  Paris,  Uumoulin,  1S77, 
9fr. 

Mont  Saint-Michel  is  a  little  town  built  around  a  mon- 
astery and  surrounded  by  fortified  walls  of  the  Middle 
Ages.  The  site  which  it  occupies  is  a  high  pyramidal 
rock,  an  island  at  high  tide.  The  buildings  of  the  con- 
vent are  crowned  by  a  large  church,  the  walls  and 
many  of  the  private  buildings  are  unaltered  work  of 
the  Middle  Ages.  It  is  a  gem  of  beauty  and  interest. 
Mr.  Corroyer  has  made  a  most  valuable  monograph  of 
it,  illustrated  by  130  figures,  of  which  some  are  large 
folding  plates.  No  book  contains  a  stronger  impression 
of  Romanesque  and  Gothic  architecture  as  they  were 
to  those  who  built  and  used  the  structures.       723.44 

Daniell,  A.  B. 

London  City  Cmcrches.  Illus.  N.  Y., 
Scribncr,  i8(/),  $2.25. 

The  greater  number  of  the  churches  mentioned  in 
this  book  are  the  work  of  Sir  Christopher  Wren  ;  they 
are  of  considerable  value  in  the  history  of  architecture. 
They  are  admitted  to  be  excellent  specimens  of  the 
later  revived  classic  style  inspired  in  the  mam  by  the 
works  of  J'alladio  at  vicenza  and  elsewhere  in  Italy. 
This  style  lacks  meaning,  variety,  and  warmth,  but  it 
is  now  much  in  fashion  among  architects  ;  these  Enjf- 
lish  buildings  are  good  e.iampTes  of  its  employment  in 
small  and  inexpensive  structures.  The  book  is  very  in- 
teresting and  useful  as  a  guide-book  to  buildings  which 
are  not  visited  as  much  as  they  should  be.  724 

De  Forest,  Lockwood. 

Indian  Domestic  ARCHiTECTrRE.  N.  Y,, 
Lockwood  De  Forest,  7  E.  loth  St.,  $2. 

Devoted  exclusively  to  the  dwellings  of  northern  In- 
dia, and  contains  only  twenty-five  photographs,  which, 
however,  are  well  selected  as  to  subject,  and  adequate 
in  themselves.  Mr.  De  Forest  is  an  artist  who  has  de- 
voted much  attention  to  the  perpetuation  of  Indian 
wood-carving,  and  to  design  calculated  \o  embody  sucb 


j..:o 


.1  'V !  i 


■  ■(; 


m 


4° 


Aichitectutt-  and  Landscape  Gardening:;, 


hi  i 


carvinjj.  made  in  India  for  the  purpose.  The  adver- 
tising papes  at  the  end  of  the  book  arc  surrounded  by 
curious  borders,  arranged  by  Mr.  l)e  Forest  himself  in 
the  Indian  taste.  722.4 

De  L*Orme,  P.     Sec  Vachon,  M. 

JDurm,  Josef. 

DiK  Haikinst  dk.r  Grif.ciikn  (Tiik  ARciri- 
•|K(  TIKF,  <>i'  nil'.  Grkk.ks).  2(1  c(l.  Darm- 
stadt. Arnold  HerKstracsser,  1S92,  20  marks. 

Thi )  is  one  volume  of  the  crcat  work  entitled  "  Hand- 
buch  dcr  Architektur,"  and  of  its  second  part,  whose 
general  title  is  "  Die  Bauslile."  Each  volume  is  to  be 
had  Beparately.  It  is  greatly  to  be  desired  that  these 
volumes,  of  the  sccona  part  at  least,  should  be  trans- 
lated into  English  by  competent  persons,  f  )r  no  his- 
t  )rical  works  on  architecture,  for  the  periods  covered 
by  them,  arc  obtainable.  They  are  very  fully  illus- 
trated, the  volume  before  Ui  containing  260  nijurcs ; 
the  buildings  are  treated  from  the  different  points  of 
view  of  construction,  decorative  style,  and  utilitarian 
purpose.  It  IS  believed  that  the  volumes  will  be  kept 
up  to  date  by  means  of  new  editions;  at  least  in  the 
case  of  the  book  under  consideration,  the  first  edition 
was  issued  in  1881,  and  eleven  years  later  the  present 
edition  came  out  with  very  important  changes,  made 
necessary  by  the  advance  in  archaeological  research, 
and  with  additions  in  thewavof  tables,  and  the  like. 
In  each  volume  there  is  a  bibliography  ;  not  complete, 
indeed,  but  including  the  more  important  works  which 
the  student  should  have  within  his  reach  •.  in  the  pres- 
ent volume  this  bibliography  is  in  two  parts,  on  pages 
2  and  365,  the  first  part  referring  to  the  history  of  archi- 
tecture in  general,  and  the  second  lo  that  o(  the  Greeks, 
especially. 

Persons  to  whom  the  German  language  is  not  per- 
fectly familiar  will  find  this  text  much  less  difficult 
than  that  of  some  other  works  on  the  same  subject 

722.8 

DiK  lUrKrNST  dk.r  Etruskf.r  (Tiif,  Arciii- 

TKCTl-RK    OF    TIIK    EiRl'SCAN'S)  :     DlF.    HaT- 
KUNSl'DKR  RoEMKR  (TlIK  ArCIIITKC  TIRK  OF 

TIIK  Romans).     Darmstadt,    Ucrj^straesser, 
1SS5,  20  marks. 

For  the  character  of  the  series  to  which  this  book 
belongs,  see  the  same  author's  work  on  the  "  Archi- 
tecture of  the  Greeks  "  Only  a  few  pages  are  given 
to  Etruscan  art ;  it  is  to  be  remembered  that  we  know 
little  ot  it,  and  that  little  of  minor  importance  to  the 
student  of  other  and  succeeding  styles.  Compare  the 
works  of  Martha  and  Dennis. 

As  to  the  "Architecture  of  the  Romans,"  this  sub- 
ject has  been  very  little  studied  in  comparison  with 
the  more  thorough  work  given  to  the  smaller  and  less 
elaborate  subject  of  Greek  architecture  ;  the  ■2^o  pages 
devoted  to  it  in  this  volume  are  wholly  inadequate  to 
the  treatment  of  so  vast  a  record.  At  the  same  iime, 
no  better  book  exists,  and  probably  none  so  good. 

722.6 

EasUake,  .SV;-  Charles  L. 

History  ok  tiik  Gothic  Revival.  Lond., 
Longmans,  1S72.     Out  of  print. 

Gothic  architecture  has  never  wholly  died  out  in 
England,  even  in  the  time  of  the  most  decided  classical 
tendencies:  as  early  as  1840  there  was  a  vigorous  at- 
tempt made  to  restore  it  to  complete  control  of  all 
building  in  England.  This  did  not  succeed,  of  course, 
and  it  may  be  said  that  the  Gothic  revival  has  failed 
because  it  has  not  resulted  in  the  development  o)  a 
natural  style,  developing  itself  along  the  natural  lines, 
but  only  a  more  or  less  archiological  reshaping  of 
ancient  types.  As,  however,  the  architecture  most  in 
favor  and  having  the  strongest  theoretical  base,  be- 
tween 1850  and  1870,  is  thoroughly  treated  in  this  book, 
it  is  well  worthy  of  study.  No  more  deliberate  at- 
tempt has  ever  been  made  to  restore  an  ancient  art, 
and  the  conditions  which  surround  it,  than  this  Eng- 
lish attempt,  which  had  excellent  and  vigorous  work- 
men at  its  head,  and  a  religious,  national,  and  archaeo- 
logical basis.  723«5 

Enlart,  C. 

Orioinks  Fran^aisi^s  I)k  i.'Architf.cturk 
GoTHiQUE  EN  Italik.  Paris.  Thorin  & 
Fils,  1S94,  20  fr. 

This  work  is  the  result  of  new  discoveries,  in  part 
original  with  the  author,  as  to  the  first  appearance  of 
Gothic  architecture  in  Italy,  and   the  Northern    in- 


fluences which  caused  it  to  appear.  It  contain)  34 
photographic  plates  and  131  other  illustrations,  and  i  •  a 
most  interesting  account  of  a  class  of  buildings  Ijttia 
known  or  visited.  It  is  a  medium-sued  octavo,  of 
moderate  cost.  723.5 

Essenwein,  P  ugust  von. 

DiK  Ai's(;.\n(;e  i>er  ci.AssisfTiKN  H.viKfNsr 
(Tiik  Graihai,  Disai'Pk.xrance  of  Classi- 
cal Archhecti'ke,  as  in  the  Cliristian 
Church-building    which    rcplacccl    it):    Die 

I'oRISETZrNC,  HER  CLASSISCIIEN  liAlKINSl' 
IM    OSIRuMLSCIIEN    ReICTIE    (TiIE   C.^RRVINC, 

ON  OF  Classical  .Arcihtectike  in  the 
K.vstern  Empire,  the  Hyzantine  Architect- 
ure considered  as  a  natural  developiiienl 
(if  the  Classical  Roman).  Darmstadt,  Uerg- 
straesser,  marks  12.60. 

This  volume  is  as  good  in  its  way  as  the  volumes  of 
the  same  Handbuch  Series  which  are  prepared  by  I)r 
Durm,  th(  ugh  it  is  somewhat  less  uniijue  11  its  excel- 
lence, as  treating  on  a  subject  which  has  been  more 
carefully  studiecT  m  proportion  to  its  magnitude.  If 
considered  as  part  of  a  general  history  of  architecture 
in  Europe,  this  would  be  the  third  volume,  following 
the  two  by  Dr.  Durm.  723.1 

Die  romanisciie  ind  die  c.otiiisciie  V>.\v- 
KiNsr-  I.  Die  Kriecshaikinsi'  (Rom.w- 
ES(.ifKANi)  Gothic  AKciiiiEcrrRE:  i.  Mili- 
tary Urii.DiNc).  With  ne.xl  title,  in  I  V(.l., 
Dannstadt.  Hergstraesser,  lO  marks. 

See  what  is  said  ol  the  scries  under  Durm  above. 
The  subject  of  mediaeval  architecture  begins  with  this 
volume,  which  is  devoted  to  the  fortresses,  the  strong 
castles,  the  border-towers,  the  fortified  churches,  and 
the  city-walls  ot  the  Middle  Ages.  723 

Die  romanisciie  vnii  die  cotiiisciie  Hac- 
KfNsr ;  2.  Der  Wohnhai;  (Ro.manesc.ue 
AND  Gothic  ARciiiTECTfRK :  2.  Domkstic 
HriLDiNc).  With  next  preceding  title,  in 
I  vol.,  Darmstadt,  Hcrgstraesscr,  16  marks. 

See  what  is  said  of  the  series  under  Durm  above 
The  present  book  may  be  considered  the  second  volume 
of  medixval  architecture 

Mediieval  church  building  is  not  yet  covered  by  any 
volume  ot  this  series ;  and  this  is  the  more  to  be  re- 
gretted, becauselhe  whole  development  of  Romanesque 
architecture  in  us  later  ages,  and  of  Gothic  architect- 
ure, was  in  the  churches  AV\A  their  construction  As 
this  has  not  been  recognized  in  the  preparation  of  the 

firesenc  series,  and  the  derived  and  secondary  buildings 
lave  been  allowed  to  take  precedence  of  their  originals, 
artistically  speaking,  it  can  hardly  be  hoped  that  the 
Middle  Ages  as  a  whole  will  be  as  well  treated  in  this 
series  of  works  as  are  the  classical,  Byzantine,  and 
Moslem  styles.  As  separate  essays,  well  and  abun- 
dantly Illustrated,  they  are  of  great  value.  723 

Fergusson,  James. 

A  History  of  Architf.ctt'Re  in  all  Coln- 

■TRIES,    FRfiM     THE    EARLIEST    TiME    'TO     THE 

Present  Day.  In  5  vols.  3d  edition.  Edited 
by  R.  P.  Spiers.  Lond..  Murray,  iS(j3.  f)3s. 
An  earlier  edition  is  published  in  2  v.,  N.  Y., 
Dodd,  Mead  &  Co,  $7.50.  (This  firm  an- 
nounces for  the  near  future  a  reprint  of  the 
latest  revised  editi(jn.) 

These  two  volumes  form  the  history  proper,  treating 
the  architecture  ol  European  peoples  and  its  origin  in 
VVestern  Asia  and  Egypt,  and  coming  down  to  the  time 
of  the  Renaissance.  It  is  important  to  procure  this 
latest  edition.  Many  serious  snortcomings  and  errors 
of  the  original  work  are  supplied  and  corrected  in  it. 
It  IS  the  only  architectural  history  ot  any  value  in  Eng- 
lish, and  so  it  is  named  here  in  spite  of  its  considerable 
cost,  and  of  the  uncritital  character  ot  the  original 
work.  Mr.  Fergusson  was  not  a  builder  or  designer, 
and  much  of  his  book  was  written,  in  the  first  place, 
without  personal  knowledge  of  the  buildings  discussed 
and  before  the  day  ol  abundant  photographs.      720.0 

History  of  the  Modern  Styles  of  Archi- 
tecture,    3d  edition.     Revised  by  Robert 


Archilectine  ami  Landscape  (larJeniii^;. 


4» 


Kerr.    I.ond.,  Murray,  iS<ji,  2  vols.,  31s.  (id. 
N.  Y.,  Dodd,  Mead  A:  C...  ?i.). 

This  work  fdrms  vols.  3  .-ind  4  of  Fcrtfusson's  (jcn- 
cr.il  history;  it  is  devoti'd  to  the  styles  which  begiin 
with  the  Renaissance  of  the  tiftcenth  century.     720.0 

IlisToKY  OK  Indian  ani>  Eastkkn  .Akciiitkci- 
IKK.  Lond.,  Murray,  31s.  dd.  N.  Y,, 
Dixid,  Mead  &  Co.,  $10. 

This  volume  completes  the  seric^^.  It  contains  the 
only  consecutive  account  in  En>;lisli  of  the  styles  of 
Intiia.  The  account  of  architecture  in  China,  Japan, 
etc.,  is  very  inferior  and  slight.  720.0 

Fletcher,  Banister,  nihl  Fletcher,  Banister  F. 

History  (IK  ARriiiTKCTrKK  fok  tiik  .Siidkni', 
Craftsman.  am>  Amatkir  ;  bciiiij  a  Com- 
parative View  of  the  Historical  Stylus  from 
the  Karlifst  Period.  Lond..  H.  T.  liats- 
ford.     X.  Y..  Stribner,  i8()f),  S4.50. 

The  160  illustrations  are  remarkably  well  selected. 
Most  of  them  are  m.idc  from  photographs  by  the  collo- 
type process,  and  these  are  of  d.fferent  degrees  of  clear- 
ness The  text  is  not  attractive  for  continuous  reading, 
but  IS  intended  for  reference,  and  is  devoted  to  an 
elaborate  comparison  of  different  styles.  See  the  pres- 
ent writer's  review  of  the  book  in  the  An/iitirturni 
A'ccorc/,\   6,no.i.  720.0 

Ffirster,  Ernest. 

ARCIH'TKCTrUK  111-  CiK.RMANV,  .SVi'  Part  I., 
p.  20.  of  this  bibliography. 

Franz-Pascha. 

DiK  Haikinst  des  Islam  (The  ARCitiTF.CTrRF, 
iiF  IsI.AM./.r. ,  of  the  Mohaminedan  people). 
Darmstadt.  Hergstraesser.  1S87,  11  marks. 

See  the  description  of  this  series  under  Durm.  By- 
zantine architecture  was  checked  in  its  growth  by  the 
conquests  of  the  Saracens;  its  only  development  of 
later  years  is  to  be  found  in  the  Mohammedan  archi- 
tecture of  Damascus.  Cairo.  Cordova,  Granada,  and 
the  Moslem countriesgenerally,  Thissubiect  istreated 
in  the  volume  before  us,  whicfi  supplies  the  fullest  gen- 
eral essay  on  this  architecture  that  is  available.  Com- 
pare Lane-Poole  723.3 

Freeman,  Edward  A. 

HiSTORKAI.    AND    ARCIIITKCTfRAT,    SkKTCIIF.S. 

ciiiF.Fi.Y  Italian.     Lond  ,  Macmillan,  1876, 

IDS.  ()d.     Out  of  print. 

Interesting  papers  on  ancient  cities  and  their  build- 
ings of  great  historical  value  to  all  students  of  archi 
lecture.  The  author  studied  architecture  all  his  life, 
and  although  wholly  out  of  touch  with  it  .is  scieniitic 
building  or  as  tine  art,  he  saw  its  value  as  material  tor 
liistory.  •  720.4 

SKETCIIF.S  FROM  TIIK  StrilJF.CT  AND   NeICIIMOR 

Lands  of  \'knice.      Illus.      N'.    Y.,   Mac- 
millan, iSSi.  82.50. 

Similar  to  the  above  n  continuation  of  it.  devoted 
to  the  little-known  country  from  Treviso  and  Udine 
down  the  Illyrian  coast  to  Cattaro  ,  and  also  to  Trani, 
Otranto.  and  the  island  of  Corfu.  945 

Article    Normans.   Encycloprtdia    Hnt.-innica, 

(jth  ed. 

Valuable  points  on  their  .irchiteclure  in  England 
and  Sicily. 

Freeman,  Edward  A.,  ,111,/  Oardiner,  Samuel 
R. 

Article    En(ilaM).     History,    Encyclopaedia 

Britannica,  qlh  ed. 

Mr.  Freeman  made  a  life-long  study  of  architecture 
(see  his  works  mentioned  above) :  this  article  contains 
many  valuable  passages  on  the  topic,  as  on  p.  300,  310, 
317,  etc. 

Oailhabaud,  Jules. 

MoNiMENTS  anciens  et modernes  ;  collection 
formant  une  histoire  de  I'archiiecture  des 


diffOrents    peuplcs    i    toutes    les   i-poqiies. 
Paris,  Didot,  1865,  4  v.,  336  fr. 

Wholly  out  of  print,  and  can  only  be  bought  from 
second-hand  catalogues,  but  no  mocfcrn  book  rej  laces 
it.  The  first  volume  deals  with  rude  stone  monuments 
and  with  classical  antiquities  ;  the  second  with  the  early 
mediajval  buildings,  etc  The  artists  employed  lomake 
the  measurements  and  drawings  were  in  many  cases 
men  who  have  become  very  famous  since,  and  much 
of  this  'prentice  work  was  done  with  religious  care  and 
enthusiasm.  As  a  general  thing,  enough  plates  are 
given  to  each  building,  or  group  of  buildings,  to  give 
a  sufficient  idea  of  its  cTiariicter,  and  even  of  its  details. 

It  would  be  of  the  highest  value  li  the  work  could 
be  reproduced  with  a  text  revised  in  the  light  of  mod- 
ern critical  knowledge.  720.0 

Oerspach,  Edouard. 

La  MosaIoie.     (H.E.H.A.)     Paris.   Quaniin. 

5fr. 

Treats  of  the  art  of  mosaic  as  seen  in  the  remains  of 
classical  antiquity,  of  its  continued  practice  during  the 
By/.antine  perma,  and  of  its  employment  in  later  times. 
Even  the  art  of  the  XIX.  century  is  touched  upon  in 
a  few  ludicious  words.  A  chapter  on  the  technicalities 
of  the'  manufacture,  and  one  on  the  proper  system  of 
us  design,  conclude  the  book. 

The  art  of  mosaic  should  be  studied  by  everyone. 
See  what  is  said  below  under  MUntz.  721.67 

Ooodyear,  W.  H. 

Oi'TUAi.  Refinements  in  MEni/F.VAi.  Arcui- 
■TECTfRE.  In  the  Art/iitirtiinil  A'lton/, 
N.  Y.,  Vol.  VI.,  No.  I.  Also  reprinted 
separately  as  "Guide  to  the  Exhibition  of 
the  Goodyear  Collection  of  Photographs  of 
Italian  Architecture  and  Sculpture,  and  of 
the  Survey  of  the  Italian  Mediajval  Build- 
ings." 

The  author  has  made  a  special  study  of  ancient  and 
modern  buildings,  careful  measurements  of  which  have 
revealed  curves  in  the  horizontal  or  vertical  sense  in 
lines  generally  assumed  to  be  straight.  The  well- 
known  curvature  of  the  stylobate  and  the  architrave  of 
the  Parthenon  affords  a  well-known  instance;  this  •.•■as 
discovered  by  "enrose,  but  Mr  Goodyear  claims  to 
have  discovered  very  many  similar  instances,  and  the 
present  essay  deals  with  those  of  the  early  Middle  Ages 
in  Italy  Mr  Goodyear's  article  named  here  is  the 
first  of  a  series  he  is  (1896)  contributing  to  the  Archi- 
tectural Record,  He  purposes  to  treat  the  theme  in 
book  form.  723 

Oriffin,  Sir  Lepel. 

FAMOfS     MoNfMF.NTS      OF      CENTRAL      INDIA. 

Lond.,  Sotheran,  £'-,  5s. 

An  oblong  folio  volume  of  photographs,  which  it  is 
to  be  hoped  will  prove  permanent  See  what  is  said 
under  Le  Bon  ;  the  book  there  mentioned  is  more  com- 
plete but  the  photographs  are  smaller  and  much  less 
beauiifu'  m  themselves  than  these.  722.4 

Owilt,  Joseph. 

Encycloi'.'Edta  of  Arciiitecti'rf  •.  Histori- 
cal, Theoretical,  and  Practical.  Re- 
vised by  Wvatt  Papworth.  N.  Y..  Long- 
mans. 18SS,  |i7.5o. 

Has  passed  through  many  editions.  Attempts  to 
combine  in  one  thick  volume  a  history  of  the  art.  the 
mathematics  which  the  practitioner  is  supposed  to  re- 
quire, some  knowledge  of  statics  and  mechanics,  and 
many  pages  of  directions  as  to  practice,  together  with 
a  very  full  bibliography  and  a  glossary  of  terms  used 
in  architecture,  which  covers  nearly  200  pages.  It  is. 
therefore,  not  without  value,  and  reference  to  it  will 
far  more  often  be  useful  than  misleading.  What  it 
most  lacks,  perhaps,  is  delicacy  of  distinction  in  the 
account  of  architectural  styles.  As  to  the  practical 
part,  one  cannot  make  himself  an  architect  bv  studying 
a  book  or  many  books,  but  many  questions  that  arise 
may  be  answered  by  referen  :e  to  these  pages.     720.3 

Hamlin,  A.  D.  F. 

History  of  Architecture.     N.   Y.,  Long- 
mans, i8(/),  $2. 
One  of  the  series  of  "College  Histories  of  Art,"  of 

which  Van   Dyke'-   "History  of  Painting"  was  the 


ill 


■!    tV' 


IXl. 


42 


Architecture  ami  Landicape  Gariivniiii:;. 


P' 


!:i!}' 


first.  I'rof.  Hamlin'fbdiik  is  intended  mainly  for  study, 
as  m  the  colli-Kt  tlass-rinim,  and  inucli  is  made  of  the 
lists  of  '■  miinumcnts  "  which  conclude  the  chapters. 
These  are  surprisingly  complete.  At  the  head  of  each 
chapter  is  also  a  list  of  books  recommended,  very  ju- 
diciously made  U|i,  except  that  one  would  like  to  e.x- 
etude  some  books  published  sixty  years  or  more  affo, 
which  cannot  be  trusted.  The  text  itself  is  sin(;ularly 
intellijfent,  and  indicates  a  firm  (jrasp  of  the  reality 
rather  than  of  the  mere  external  appearance  of  things. 

Harris,  Thomas. 

TiiKKK  I'l-.KKiDs  OK  Fnci.isii  A  kiiiii  r.criKK. 
I.niid.,  H.  T.  Miitsfoid,  7s.  fid. 

This  book  assumes  it  as  evident  that  the  lifctcsscon- 
dition  of  modern  architecture  reijuires  an  entirely  new 
beKinnintj  in  order  that  any  livin^;  architecture  may 
arige.  Writin;,'  for  English  people,  the  author  advises 
the  adoption  of  Elizabethan  and  Tudor  architecture 
and  the  fjradual  developmentof  these  styles,  liy  the  use 
of  mcxlern  materials  and  appliances,  into  u  modern 
style.  720.42 

Harrison,  Frederick. 

AnNAI.S    ok    ,\\    Ol.l)    M.^NOK-Ilol  SK,    .SiTTON 

I'l.ACK,  Cini.DKoKii.   lllus.    N.  Y.,    Macniil- 
lan,  iS(j3,  S14. 

For  the  study  of  ancient  drmestic  architecture,  and 
foraK'>od  understanding;  of  Elizabethan  architecture 
in  general,  nothing  better  could  be  offered  than  this 
most  interesting  book.  A  part  of  the  text  is  devoted  to 
family  history  and  the  like,  but  much  of  it  is  immediate- 
ly connected  with  the  building  itself.  The  illustrations 
comprise  photographic  views,  colored  prints  of  stained 
glass,  plans,  and  details  of  the  sculpture  and  wood- 
work. 720.42 

Haupt,  Albrecht. 

BaKKIINST  DEK  ReNAISSANCK  in  PORTtT.AI,  von 

i4()5-i64o.     Frankfurt  a/M.,  llcinrich  Kel- 
ler, 1895,  2  v.,  40  marks. 

Portugal  is  so  very  little  known  as  a  country  with 
architectural  remains  that  the  publication  of  this  small 
quarto,  with  its  three  hundred  pages  and  as  many  il- 
lustrations, is  an  immense  gain  t.i  the  general  study  01 
architecture.  Firtunately,  it  is  a  good  book,  not  pre- 
tending to  completeness,  but  thorough,  and  displaying 
singular  insight.  720.469 

Havard,  Henry. 

La  Franck  Artistiqi'k  v.v  Moncmentale. 
Paris,  La  Librairie  Illustree,  Montgredien, 
6  v.,  180  fr. 

Each  volume  c.intains  eight  or  nine  monographs  on 
an  important  building  or  group  of  buildings.  There 
are  in  all  1^0  photographic  plates,  and  perhaps  400  il- 
lustrations in  the  te.xt,  some  photographic  and  some 
from  drawings.  The  text  itself  is  written  in  every 
case  by  some  person  especially  well  informed  as  to  the 
building  in  question.  It  will  be  seen  that  here  is  to  be 
had  at  ii  very  slight  expense  a  remarkable  encyclo- 
paedia of  trustworthy  information  concerning  the  fine 
architecture  of  almost  all  epochs.  720.44 

Huss,  Oeorge  Martin. 

Rational  Biimiinc.  a  translation  of  the  ar- 
ticle Constriction,  in  the  "  Dictionnaire 
Raisonn6 del' Architecture  Fran9ais"of  Eu- 
gene-Emmanuel Viollet-le-Duc.  lllus.  N.Y., 
MacmiHan,  1S95,  $3. 

The  paper  in  the  original  occupies  more  than  half 
of  one  of  the  volumes  of  the  famous  French  work 
quoted  in  the  title.  Construction,  according  to  Roman- 
esque and  Gothic  methods,  as  followed  from  the  XI.  to 
XVI.  century,  was  much  more  elaborate  than  the  con- 
struction of  classical  times,  and  far  more  logical  and 
based  upon  reason  than  that  of  later  times.  Mr.  Huss 
has  given  us  a  translation  of  this  in  a  volume  of  350 
pages,  with  all  the  original  illustrations.  The  transla- 
tion is  altogether  exceptional  in  its  minute  faithfulness 
to  the  original  text.  721 

Isham,  Norman  M.,  anti  Brown,  Albert  F. 

Early  Rhode  Island  Houses.  lllus.  Provi- 
dence, R.  L,  Preston  &  Rounds,  1895,  $2.50. 

A  thorough  and  critical  study  of  very  early  American 
building,  tracing  tee  traditions  which  govern  it  back 


to  English  hiiiiiling  if  earlier  times.  .\  tiook  t  1  he 
commended  Nlronglv.  See  the  writer's  review  of  it  in 
AyckittLtiirit  Kicoril,  v.  6,  no.  i.  720.74 

JacksoUj  T.  O. 

MoDKKN      CiOTIIlC       .AKrillTKCTl'KK.        I.ninl., 

Henry  S.  King  iS:  Cn.,  5s.     Out  nl  iirinl. 

This  little  book  of  2116  pages  considers  theattenipted 
Gothic  revival  in  Great  Hritain  from  the  point  of  view 
of  sound  reasoning  and  true  analysis.  In  this  connec- 
tion nearly  all  the  important  considerations  which 
should  inrtuencc  modern  architectural  practice,  and  do 
not,  are  properly  presented.  It  is  a  v.iluahle  book  for 
every  student  of  architecture  to  read,  and  the  general 
propositions  laid  down  in  it  should  be  carefully  j>on- 
dcred.  724.3 

I).\I.M.\TI.\,TIIEQt'ARNERo,  .WD  IsTUIA.  lilus. 
Oxfcird,  Ciarcndun  Press.  N.  Y.,  .Macinil- 
lan,  1SS7,  3  v.,  $10.50. 

One  of  those  valuable  books  nn  architecture  which 
are  made  up  by  the  author's  personal  observations,  in  a 
region  rich  in  monuments  of  art.  On  the  eastern  coast 
of  the  Adriatic  the  remains  of  the  late  Roman,  of  early 
Romanesque,  and  later  Romanesque  art  are  very 
abundant,  and  have  been  much  less  studied  than  those 
of  more  accessible  parts  of  Europe.  To  the  general 
reader  it  may  be  said  that  the  aspect  and  character  of  a 
land  in  which  ancient  buildings  remain  almost  intact  is 
admirably  reproduced.  724.8 

Kerr,  Robert. 

The  Gentleman's  IIokse  ;  or,  II<i\v  to  Pi..\n 
ENtJLisH  Rksidences.  Ldiul.,  John  Mur- 
ray, 1865,  24s.     Out  (if  print. 

Only  a  part  of  this  volume  appeals  to  the  general 
reader  of  Fine  Art  books,  viz.,  that  which  deals  with 
houses  and  their  simple  arrangements,  gradually  grow- 
ing more  elaborate.  The  book  generally  deals  with 
plans  only,  ignoring  the  artistic  side  of  architecture. 

728 
Le  Bon,  Qustave. 

Les  MoNiMENis  i)F.  l'Inhe.  Illustr6  d'cn- 
viron  400  figures,  htiiotvpes,  dessins, 
cartes,  et  plans.  Paris,  Firmin-Didot  & 
Cie.,  1893,  40  fr. 

For  the  study  of  the  splendid  architectural  remains 
of  India,  covering  a  period  of  2000  years  and  embody- 
ing many  principles  of  construction  and  decoration  not 
known  to  Europe,  the  only  general  treatise  in  English 
is  the  brief  one  01  Fergusson.  The  work  now  before 
ui  is  more  complete,  more  scientific,  and  much  more 
fu.'ly  illustrated ;  the  illustrations,  moreover,  being 
photographic.  Oth  jr  works  on  the  subject  are  gen- 
erally of  the  nature  of  monographs,  or  are  mere  collec- 
tions of  pictures.  See  what  is  said  under  Griffin  and 
De  Forest.  722.4 

Lethaby,  W.  R.,  and  Swainson,  Harold. 

Tme  Chkrch  ok  Sancta  Sophia,  Constanti- 
nople :  a  study  of  Hyzantine  Huilding. 
lllus.     N.  Y..  Macmillan,  1S94,  $0.50. 

The  Church  of  Sancta  Sophia,  or  Hagia  Sophia,  .it 
Constantinople,  is  the  most  important  building  in  the 
world,  at  least  to  all  those  whose  ideas  of  art  and  his- 
tory are  based  upon  the  Roman  tradition.  There  are 
large  monographs  devoted  to  the  building,  and  there 
exist  contemporary  documents  which  fortunately  pre- 
serve the  feelings  of  the  builders  and  their  employer, 
the  Emperor  Justinian.  This  book  is  made  up  of  a 
study  of^  those  documents  combined  with  personal  ex- 
amination of  the  building  ;  it  is  eminently  trustworthy, 
and  in  every  way  a  valuable  work.  The  illustrations 
are  both  useful  and  unusually  artistic  as  decorations  of 
the  book.  723.2 

liewis,  T.  Hayter,  and  Street,  O.  E. 

Article  Architecture,  Encycloptedia  Hritan- 
nica.  9th  ed. 

Far  less  valuable  for  classical  architecture  than  Mr. 
Murray's  article  on  "  Archaeology  "  in  the  same  work  ; 
shows  a  lack  of  clear  understanding  of  styles  and  essen- 
tial differences.  Mr.  Street  was  an  architect  in  large 
practice  until  his  death  in  December,  1881,  but  he  was 
exclusively  devoted  to  the  Gothic  Revival,  and  although 
to  be  exclusive  in  one's  own  way  is  often  good  for  an 
artist,  it  is  bad  for  a  critic.  There  are  errors  in  the 
early  part  of  "Pointed,"  but  the  descriptions,  as  of 
Chartres  Cathedral,  are  not  bad. 


Afiliitcctuie  and  iMiiilicapc  Guriitinn;^. 


43 


ticiiik   t  1   l;c 
tt'W  of    It    111 

720.74 


Ziinn,  W.  A. 

Ht'ii.iiiNc,  Asn  Loan  AssnrrATiDNs.  In 
"Homes  in  City  anil  Country."  N.  Y., 
.Scrilinur,  1^93. 

Mr.  I. inn,  maniiKing  editor  nf  the  New  York  F.foi- 
inn  I'osty  has  K'veii  much  attention  to  this  subject. 
He  presents  the  whole  case  very  ilearly.  He  tinds 
Krcat  advantafjes  in  the  associations  in  .juestion,  and 
makes  this  plain  to  the  reader.     Many  jllusitratiuns. 

Loftie,  W.  J. 

l.Miio  JoNKs  A\n  Wrf.n  ;  OR,  TiTF,  Risk  and 
Dkci.ink  uv  Modkkn  .Akciiukciikk  in 
KNiii.ANU.  Illus.  N.  Y.,  Macinillan,  1893, 
§4.50. 

A  small  qunrtf)  hook,  with  some  very  valu.ible  illus- 
trations of  buildings  of  the  Classical  Revival  in  Eng- 
land. The  author  is  a  clerjfyman  who  has  written 
much  about  London  and  architectural  art  in  RnKland. 
His  purpose  in  the  present  work  is  to  urge  the  great 
superiority  in  the  way  ol  delicate  proportion  of  the  art 
of  Jones,  Wren,  and  their  successors,  and  to  protest 
against  the  .-evived  Gothic  as  he  saw  it  in  England 
during  the  years  previous  to  the  publication  of  the 
bo  ik.  The  000k  must  he  taken  as  the  interesting 
presentation  of  one  side  only  of  an  important  question 
that  involves  an  historical  account  of  buildint' in  Eng- 
land since  1550.  720.42 


litor. 

ARCHITKCTrRK 


Xiongfellow,  William  P.  P., 

CYri.ol'.r.IiIA    OK    Wo'tKS    f)l 

IN  Itai.v,  Grkkck,  andthk  Leva.nt.     Illus. 
N.  Y.,  Scribner,  1S95,  $25. 

Of  the  nature  of  a  gazetteer ;  that  is  to  say,  a  gco 
graphical  dictionary  of  the  most  important  monuments 
of  the  countries  named  in  the  title.  It  is,  then,  an  ad- 
dition to  the  valuable  guide-books  of  which  there  is 
mention  elsewhere.  Its  peculiar  value  is  probably  in 
its  treatment  of  the  cities  of  the  East,  as  of  the  Kalkan 
I'eninsula,  Syria,  and  Asia  Minor,  for  which  no  ade- 
quate guide-book  exists.  720  3 

Longman,  William. 

History  ok  tiik  Tmrf.f,  Catiif.orai.s  Df.ih- 
CATEI)  TO  .Sr.  I'aii,  in  London.  Lond., 
Longmans,  1S73.     Out  of  print. 

An  excellent  account  of  the  old  church  of  St.  Paul, 
finally  destroyed  in  the  lire  of  1666,  and  the  Icmp  prepa- 
rations for  the  present  structure,  designed  by  Sir  Chris- 
topher Wren,  as  well  as  of  the  building  itself.  The 
whole  is  a  valuable  chapter  in  architectural  history. 
It  is  rather  important  to  the  student  that  he  should  be- 
come aware  how  complex  and  many-sided  is  the  prob- 
lem involved  in  a  large  building  for  national  purposes. 
This  knowledge  is  as  well  gained  in  this  book  as  in  any 
to  which  reference  can  be  made.  720.42 

Macgibbon,  David. 

Arcihtectirk  ok  Provencf,  and  thf.  Ri- 
viera. Edinburgh,  David  Doujjlas,  188S, 
21S. 

By  one  of  the  two  authors  of  the  valuable  books  on 
Scotland  given  below.  In  this  book  the  buildings  of 
Roman  time  and  of  the  Middle  Ages  early  and  late, 
which  are  to  be  found  as  one  travels  from  Vienne 
through  Aries  and  Nimes  to  Carcassonne,  and  so  back 
eastward  along  the  Riviera  to  Genoa,  are  described 
and  pictured  in  spirited  drawings  whose  trustworthi- 
ness to  general  effect,  and  to  details,  need  not  be 
doubted.  720.44 

Macgibbon,  David,  iind  Ross,  Thomas. 
Castellated  and  Domestic  ARcmTECTURE 
OK  Scotland  from  the  XIL  to  the  XVllL 
Centiry.       Edinburgh,     David    Douglas, 
1892,  5  v.,  £\o  los. 

This  book,  illustrated  with  a  great  number  of  trust- 
worthy drawings,  included  in  the  text,  contains  a  very 
complete  account  of  the  ancient  non-ecclesiastical  builcl . 
ingsof  Scotland.  No  one  unfamiliar  with  the  country 
would  suppose  there  was  so  much  of  historical  and 
suggestive  value  within  its  narrow  limits.  A  student 
seel<ing  examples  of  the  picturesque  and  effective  in 
simple  buildings  erected  at  moderate  cost  will  find 
what  he  desires  here.  Compare  the  "Ecclesiastical 
Architecture  "  of  the  same  authors.  72  3.41 


F.iCIESIASTirAI,  ARnilTF.CTI^RF.  OK  ScolI.AND 
KKoM  niK  KaRI  IKSI  ClIKISl  IAN   TlMK  |o  jHK 

XVIL    Ckniiky.      Vols.    L    and    IL    (IIL 
not  published  yet].   Edinburgh,  David  Doug- 
las, iS(j4-(/>,  S4S.     N.  Y.,  Siribncr,  $33. do. 
This  work  will  be,  perhaps,  more  uenerally  useful 
than  the  book  by  the  same  authors  on  civic  architecture. 
This  Work  is  uniform  with  the  other  in  style  and  ap- 
pearance. 720.41 

Marquand,  Allen. 

(jRKEK    ARCllllEmTRE.       IlluS.       N.    Y.,    Mai- 

millan.     .Announce-d  without  date. 

The  author  is  I'rofcssor  of  Fine  .Art  at  Princeton 
I'niversity.  722.8 

Mathews,  Charles  T. 

TuK  SioKV  OK  ,\R<:mrKirrRK.  X.  Y.,  Ap- 
pleton,  18(^1,  $3.  720.9 

Melani,  Alfred  O. 

.\Kriiri  KiriKA  Itai.iana,  Parte  Prima  ;  Ar- 
chitcttura  Pelasgica,  Etrusca,  Italo-Greca 
e  Romana.  Milano,  Ulricu  lloepli,  1SS7,  2 
v.,  (1  lire. 

This  book,  which  forms  one  of  the  Hocpli  Manuali, 
is  selected  for  mention  because  it  is  very  desirable  to 
read  the  history  of  every  style  as  it  is  written  by  the 
writers  of  the  same  nationality;  and  also  because  they 
are  two  volumes  on  the  tine  arts  printed  in  Italian  which 
are  within  re.ich  of  American  students,  and  because 
the  Italian  view  of  fine  art  ought  to  receive  more  atten- 
tion than  it  docs.  This  second  edition  is  a  useful  little 
book,  though  not  containing  what  French  and  Amer- 
ican writers  would  consider  the  latest  conclusion  of 
archa;ology.  720.45 

Merson,  Olivier. 

Les  Vitrakx.     (li.E.H.A.)     Paris,   Quantin, 

5fr. 

.\  small  treatise  on  the  large  and  difficult  subject  of 
glass  painting  and  decorative  windows,  ancient  anct 
modern.  Highly  valuable  as  an  introciuction  to  the 
subject ;  written  with  great  good  sense  and  large  knowl- 
edge. It  is  not  surprising  that  the  recent  triumi)hs  of 
American  glass  painting  are  ignored.  720.8 

Michaelis,  Adolf. 

Der  Parthenon.  MiteincmTextheft.  Illus. 
Leipzig,  Breitkopf  iN:  Iliirtel,  1870,  30  marks. 

Though  a  small  and  thin  folio  on  the  famous  ruined 
temple  at  Athens,  with  a  mere  pamphlet  of  text,  con- 
tains  everything  that  the  student  generally  requires  for 
a  knowledge  of  the  building.  Peculiarly  valuable  is 
the  engraved  representation  of  all  the  sculptures  of  the 
building  which  are  known  to  exist ;  the  slabs  of  the 
naos  frieze  being  numbered  according  to  the  places 
which  they  are  known  to  have  occupied,  or  thought  to 
have  occupied,  originally.  The  sculptures  of  the  pedi- 
ment are,  of  course,  not  so  easily  placed.  All  theories 
on  that  subject  arc  merely  theories.  722.8 

Middleton,  J.  H. 

Article  Rome,  Toror.RAriiv  and  Arch/TJol- 
o(;y,  beginning  p.  807,  Encyclopiedia  Bri- 
tannica,  Qth  ed. 

See  what  is  said  of  this  writer's  book  on  Rome,  in 
Part  I. 

Mitchell,  Donald  O. 

The  Country  House.  In  "  Homes  in  City 
and  Country."     N.  Y.,  Scribner,  1893. 

Mr.  Mitchell  has  for  many  years  been  a  landscape 
gardener  by  profession.  The  essay  under  consideration 
IS  rather  historical  than  didactic  ;  it  contains  an  admi- 
rable account  of  growth  and  change  of  country  houses 
in  the  northeast  of  the  United  States. 

Moore,  Charles  Herbert. 

Development  and  Character  of    Gothic 
Architecture.     Illus.     N.  Y  ,  Macmillan, 
1890,  $4-50. 
An  enthusiastic  and  scholarly  book  devoted  to  the 


».i  :   M 


l| 


!i= 


44 


Arihili'cttiie  anJ  Lani/sia/<r  Cuiidening. 


\%\ 


m. 


exitminutlonof  Onthicurchitcct'irc  in  jtHeMcntlal»trucl' 
urc  unit  thv  rcHuUitiK '•irm<i.  Mr  MiKirt- HikIh  thut  riot 
onlyilul  the  Myk-  lake  iiN  (ir^jn  in  nnrthcrn  Kruncc, 
but  that  it  ncvrr  wuh  |irai'iiiu.'(l  in  its  com|iletenc'HH  ami 

iiurity  DUtHidc  >if  France  except  in  certain  iiiHlancvs. 
t  i»  H  l>iK)|<  to  be  Ktudieil  with  the  Krcutrst  care  by  any 
one  (lesirinK  to  IcndW  tlie  facts  as  tncy  nffer  thcmiR-lves 
to  a  very  careful  anil  cl(me  Htudent  who  is  not  himnelf 
n  huilder.  Attentive  readint;  of  it  cannot  hut  K>ve  the 
reader  larser  views  of  the  Importance  of  a  more  minute 
inquiry  into  the  essence  nnd  origin  of  architectural 
forms  than  is  Kenerally  bestowed.  724.3 

MorrlR,  William,  nuil  Mlddleton,  J.  Henry. 

Artiilc     Mi'R.VI,     I)K.ri)KAllHN,      F,myil(ip.T'(lill 

Uritaniiica,  i)th  <•(!, 

Cfood  both  in  th  '.  architecture  and  the  painting.  The 
illustrations  are  also  very  valuable. 

Mttntz,  Sug^ne. 

La  MiisaI'.'I  K   ClIKl^.riF.NNK    rF.NOAVT    I.KS  I'KK- 

MiKKs  siiri.Ks.  I.  La  'rf(hni<|iif  ;  IL  La 
M<isaT(|tiu  dans  Ics  catucoiiiboK.  Ilius. 
I'aris.  LiTDUx,  iSijj,  f)  fr. 

'this  is  a  fuller  treatise  on  the  same  subject  as  the 
one  by  Oerspacb,  (jiven  above.  Mosjiic  has  the  sin(<u- 
lar  importance  of  bcinK  the  only  Kreat  art  combiniiiK 
representative  and  decorative  i|ualitics  of  the  long 
epochs  from  the  IV.  tu  the  XII.  century.  721. 67 

NevUl,  Ralph. 

Ol.l)   CoTTACF,  AND    DOMF.STIf   ARririTF.r  PI' RK 
IN    SollllWKST    SiRRKV,    Ulld    NotfS   (if    the 

Early  History  of  the  Division,  (iuildford, 
Billings  ••'^  .Son;  Lond.,  Matsford,  iS()i,  2os. 

From  amonu  the  great  number  of  specialized  works 
which  the  modern  architectural  library  contains,  this 
one  IS  selected  as  uivinK  a  greal  number  of  trustworthy 
drawings  of  small  houses  built  in  a  really  traditional 
manner.  There  arc  here  both  city  and  country  houses. 
and  also  many  standing  on  the  streets  of  small  villages: 
they  are  all  built  according  to  the  feeling  for  pictu- 
resqueness  and  fitness  of  design  which  is  always  found 
where  old  traditions  arc  undisturbed,  and  where  mod- 
ern self-consciousness  and  archicological  study  have 
not  come  in.    There  is  a  useful  descriptive  text. 

720.42 

Palustre,  Lion. 

L'ARCIIITF.CTI'RF,  de  i,a  Rf.natssantf. 
H.  A.)     Paris,  yuantin,  iH(^2,  5  fr. 


(H.  i:. 


Mr.  Palustre  is  known  for  his  thorough  study  of  the 
French  Renaissance.  Thisculminatedinanobic  book, 
of  which  three  large  volumes  have  appeared,  but  which 

firobably  remain  a  fragment  because  the  system  of  il- 
ustration  adopted,  namely,  by  means  of  etchings,  has 
now  become  obsolete.  It  the  publishers  would  have 
the  moral  courage  to  change  the  plan  to  one  based 
upon  photography,  "La  Renaissance  en  Krance " 
might  yet  be  brought  to  a  triumphant  conclusion.  In 
the  meantime,  the  little  book  before  us  is  a  ^rst-rate 
introduction  to  the  study  of  those  styles  of  architecture 
which  tool:  shape  in  Italy  about  1430,  and  in  the  rest 
of  Europe  during  the  century  which  followed. 

720.44 

Papworth,  Wyatt. 

Ariicle   Hfii.Di.sc,   Encyclopxdia    Hritatinica, 
yth  cd. 

Valuable  in  its  account  of  the  knowledge  necessary 
to  the  architect  and  of  the  processes  of  planning  and 
erecting  a  building.  The  general  principles  of  con- 
struction, except  in  modern  iron  and  steel  building,  are 
well  explained. 

Parker,  John  Henry. 

DOMKSTIC    ARCIlMKCTfRE    I\    Esr.I.AND    FROM 

KiciiAKi)    IL    TO    Henry   VHL      Oxford, 
i85().     Out  of  i)rint. 

This  book  divided  into  two  parts,  although  with 
continuous  pagination,  is  the  third  of  a  series  (see 
Turner,  T,  H . ,  and  also  Parker  and  Turner).  The  very 
interesting  subject  ot  house  architecture  in  England 
is  treated  in  an  attractive  style,  and  with  such  com- 
pleteness as  is  practicable  in  a  work  comprised  in  four 
moderate  octavos.  T.  Hudson  Turner  was  an  enthusi- 
astic student,  and  although  he  died  before  the  develop- 
ment of  mediiEval  archa-ology  to  any  great  perfection, 
he  wa»  one  of  the  most  useful  of  the  earlier  helpers  in 


the  work.  Mr.  Parker  is  not  to  be  commended  11  >  an 
archa.'ologist.  Still  their  joint  work,  and  the  work  of 
.Mr  Parker  alone,  havesurticcd  to  furnish  sluilenls  with 
a  work  which  may  hold  its  place  even  after  more  criti- 
cal books  shall  have  apfiearod.  There  are  a  ureal  num- 
ber of  illustrations,  generally  trustworthy.        720.42 

Parker,  J.  H.,  and  Turner,  T.  H. 

UoMKsl  II-    Aknil  IKlirKK    in    KN<iI.ANI>    FROM 

KuwAKi)  L  10  KiciiARi)  H.     Oxford,  1H53. 
<  )iit  of  print. 

The  second  of  a  series  (see  Turner,  T.  II.,  and  also 
Parker,  John  Henry).  720.42 

Pariona,  Samuel,  //-. 
Smai.i,  CoiNTRY    I'l.At  Ks.      In    "Homes    in 

City  and  Country."     N.  Y.,  Scrihner,  i!<i)3. 

Mr.  Parsons  h;id  been  for  a  number  of  years  the 
landscape  gardener  and  superintendent  o'  the  New 
York  City  Oepartment  of  Public  Parks.  See  his  work 
on  "  Landscape  Gardening,"  mentioned  below.  This 
short  essay  is  of  very  higti  value  in  the  way  of  sug- 
gestion. 

Landscape  GARDENlNn;  arrangement  of  coun- 
try places,  lar^e  and  small  parlis,  etc.  N.  Y.. 
I'utnatn,  iSi)i,  I3.50. 

This  valuable  book  consists  of  17  chapters,  which  are 
so  many  cssiiys  on  different  as|K-ct»  of  lundsca|>e  gar- 
dening. It  IS  very  fully  illustrated  with  wood-cuts  and 
half-tone  prints  from  nature.  The  oaper  on  ("ily  Parks 
and  that  on  lawn  planting  for  small  places,  are  of  im- 
mediate interest  to  every  one.  710 

Piatt,  Charles  A. 

1  lAI.IAN  {JaKDENS. 


N.  v..  Harper,  lSo4.  fS- 


A  thin  <|uarto  with  many  photographic  illustrations, 
devoted  to  a  branch  of  decorative  art  very  little  studied 
in  modern  times,  but  worthy  of  the  closest  examination 
by  all  who  are  interested  in  architecture— the  system 
and  the  art  of  laying  out  gardens  so  as  to  be  closely  in 
harmony  with  the  architecture  of  large  country  houses. 
Such  gardening  reached  its  highest  development  in 
Italy  in  the  XVII.  century.  Compare  Ulomtield  and 
Thomas.  712 

Price,  Bruce. 

TiiK  SniiRHAN  HoiSE.     In  "  Homes  in  City 
and  Country."     N.  Y.,  .Scribner,  181)3. 

Mr.  Price  is  an  architect  of  New  York  City  who,  at 
the  time  of  the  appearance  of  this  article,  had  himself 
built  many  houses  at  Tuxedo  Park  and  elsewhere.  The 
paper,  unlike  most  of  the  others  in  the  volume,  is  wholly 
concerned  with  the  buildings  of  the  day.  It  includes 
illustrations  of  fourteen  characteristic  houses  by  nearly 
as  many  different  architects. 

Ramee,  Daniel. 

HisToiRK  GfisftRAl.  HE  I," ARniiTECTiTRE.    Par- 
is, Amyot,  iSOo-62,  2  v.,  36  fr. 

A  far  more  systematic  history  than  that  of  Fergus- 
son.  It  IS,  indeed,  composed  on  right  lines  for  such  a 
work.  It  docs  not  contain  the  latest  results  ot  archaeo- 
logical study,  and  the  illustrations,  though  of  the  kind 
most  needed  for  the  text,  are  too  few  for  its  full  ex- 
planation. Like  most  treatises  on  architecture,  the 
narrative  stops  with  the  earlier  Renaissance,  giving 
but  the  slightest  mention  to  all  that  follows  the  Xv\ 
century. 

1 1  has  been  stated  that  this  book  contains  many  errors 
ot  fact  and  date.  720.0 

Reber,  Franz  Von. 

KlNSrC.ESCIIK.lITF.  DE.S  MlTTEI.AI.TERS.       Lcip- 

zic,  Weinei,  lO  marks.  Transl.  by  J.  T. 
Clarke  as  History  ok  Meulkvai.  Art. 
N.  Y.,  Harper,  1S87,  $5. 

Of  medixval  fine  art  Architecture  is  very  much  the 
most  important  form,  and  it  includes  most  of  the  other 
arts  as  practised  during  the  Middle  Ages. 

This  translation  is  unusual  in  being  the  work  of  a 
very  competent  writer.  A  small  glossary  of  technical 
terms  is  added.  709 

Robinson,  W. 

Garden  Design  and  Architects'  Gardens. 
Two  reviews,  illustrated  to  show,  by  actual 


Afihiti'cture  and  Landiia[<i-  (.iardining. 


45 


s.     Leip- 
l.y  J.   T. 

'At   Art. 


example*  from  Mritish  K-irdciis,  that  liip- 
liin^  ami  aliKiiin»{  trci's  to  make  tliciii  "  har- 
iiioni/c "  with  architecture-  is  liarbaruus, 
neoillfxs,  and  inartistic.  I.ond.,  Jnhii  Mur- 
ray, iS.)2,  ?s.     N.  Y.,  ScribncT,  fa. 

A  pleii  fcif  the  muri?  inform.-il  and  nuturulmtic  «tylc 
of  KanleninK,  fvtn  in  cdnnfctmn  with  iilalcly  arclii- 
tecturi'.  It  is  written  in  answer  In  such  a  nndk  as 
Hliimtivld  and  Thomas's"  Furinal  Garden  in  UnuUml  " 

710 

Rohault  de  Fleury,  Oeorge*. 

I.A  TiiSCANK.  Al'    MiiVKN    AiiK.;    AK'lIITKfTI'RK 

<  ivii.K  K.r  Mii.iiAiRK.  Paris,  .Mcirul  ct  Cic, 
1871,  2  v.,  iSo  fr.     Out  i)f  print. 

This  t)(iok,  which  is  never  expensive,  in  two  small 
fi)h(i  volumes,  contains  measured  drawings  and  picto- 
rial drawings  iif  such  interestmt;  buildings  as  the  Pa- 
lazzo Vecchio  anil  the  l.oKKia  dc  I^anxi,  at  I'lorence, 
the  I'alazzo  I'libhiico  of  Siena,  and  private  houses,  city 
walls,  and  gates  in  half  the  cities  of  Tuscany.  The 
value  of  the  whole  is  greatly  helped  by  the  excellent 
plans  o(  the  different  cities  which  are  Kiven,  and  the 
cral  views  o(  the  same  cities  from  hil'-tops  near 
:  students  of  architecture  only,  but  reailers  of  medi 
il  and  later  history  and  stuilenis  of  the  li 
Italy  will  lind  this  buuk  extremely  !>u),'t;estivc. 


uencral  views  o(  the  same  cities  from  hil'-tops  near. 
Not  students  of  architecture  only,  but  reailers  of  medi- 
leval  and  later  historj;  and  stuclenis  of  the  line  an  of 

' ■      '  rcmclv  buifirestivc. 

720.46 
Soot,  John  W. 

TllK  Cliv  IlnfSK  IN-  TIIK  Wksi.  Ill  "  Homes 
in  City  and  Country."  N.  Y.,  Scribncr, 
1S93. 

The  houBcs  examined  are  nearly  all  nf  very  recent 
date,  and  in  this  respect  the  article  differs  from  those 
by  Mr.  Mitchell  and  Mr.  SturRis  in  the  same  volume. 
A  dozen  western  houses,  well  selected,  are  given  in  the 
illustrations.  The  article  will  be  found  very  much  too 
laudatory  of  the  designs  criticised,  and  more  hopeful 
than  IS  sale. 

Rosengarten,  A. 

DiK  Ak(  111  1  KKTONisciiKN  Styi.artf.x,  Hraun- 
schwui^,  Vieweft,  13  m,  Transl.  as  Hand- 
HODK  ni.-  ARciinKcriRAL  Styles,  lllus. 
N,  Y.,  Scribntir,  $2.50.  720 

Ruflkin,  John. 

TnK  Skvkn  Lamps  of  ARCiiiTF.rTi'RE.  Lond., 
Geo.  Allen,  7s,  6d.  With  preface  by  Charles 
Eliot  Norton,  N.  Y.,  Maynard,  Sicrrill  & 
Co,,  I2.75, 

This  book  was  first  published  in  1849  :  it  is  a  marvel- 
lous piece  of  work  for  a  man  under  thirty ;  compact 
and  vigorous  in  thought,  imaginative— a  real  poem  with- 
out metre— superbly  written,  with  sustained  strength 
and  flexible  adaptation  of  language  to  thought.  As  a 
book  of  art  criticism,  it  is  of  no  value.  The  architect- 
ure it  treats  of  is  a  dream,  a  conception  of  the  writer, 
having  no  connection  with  the  actual  Gothic  buildings 
of  Europe,  upon  a  close  study  of  which  it  is  supposed 
to  be  founded.  The  first  edition  contained  14  prints 
from  soft  ground  etchings  by  the  author,  which,  al- 
though from  very  careful  drawings,  were  not  success- 
ful mechanically  The  second  edition,  1855,  contained 
illustrations  "drawn  by  the  author  and  rc-ctched  Ijy 
R.  E.  Cuff,'  with,  moreover,  the  frontispiece  carefully 
engraved  on  metal,  720.4 

TiiK  Stones  of  Venice.  Lond.,  Geo.  Allen, 
2  V,,  los.  Also,  with  preface  bv  Charles 
Eliot  Norton.  N.  Y,,  Maynard,  Merrill  & 
Co.,  2  v.,  $3. 

This  work  was  completed  m  1853  in  three  large  vol- 
umes with  many  illustrations.  It  is  not  advisable  that 
the  student  should  depend  upon  its  conclusions  or  even 
Its  suggestions.  It  is  even  more  decidedly  character- 
ized than  the  author's  other  works  by  that  false  theory 
of  criticism  which  may  be  stated  thus:  Reason  out  first 
what  a  given  work  of  art  ought  to  express,  and  then 
compare  the  actual  work  of  art  with  your  conclusion  ; 
and  denounce  it  boldly  if  it  deviates  from  such  a  stand- 
ard. 

Those  books  onlyare  to  be  used  for  edification  which 
follow  the  opposite  course,  and  begin  by  examining 
carefully  what  the  work  o(  art  does  say  and  is  meant  to 
say,  and  then  go  on  comparing  this  with  other  works 
<A  art  and  the  condition!)  which  govern  it  and  them. 


The  original  edition  named  above  contains  very  beau- 
tiful illustrations,  most  of  ihrm  made  from  the  author's 
own  drawings,  which  may  he  trusted  as  faithful  inter- 
pretations. One  or  two  colored  plates  are  (leculiarly 
valuable  as  giving  wh.it  is  not  generally  attainable. 
These  plates  are  entirely  otnitted  from  the  cheaper  re- 
cent editions,  and  even  the  text  wood -cuts  are  not  given 
in  all  of  them.  In  fact,  the  txiok  as  prefiared  for  the 
market  to-day  (i8i)6>,  is  re-made  to  serve  as  an  inex- 
pensive  (<uide  to  the  monuments  of  Venice,  for  which 
purpose  il  IS  ul  but  little  value.  720.45 

Examples  OF  TIIK  ARciriiKcii'RF,  of  Venice. 
15  pi,  and  text.      Loiiil.,  (ieo,  .Allen,  42s. 

Was  intended  to  form  a  series  of  large  illustrations, 
plates  in  Imperial  folio,  of  the  "  Stones  of  Venice."  It 
was  proposed  to  issue  twelve  parts,  hut  only  one  was 
ever  published,  namely,  in  1851,  t)y  Smith,  Elder  &  Co. 
The  edition  published  by  Mr.  Allen  is  a  reissue.  The 
plates  are  very  interesting  and  valuable;  a  few  of  them 
give  what  no  photograph  will  give.  720.45 

Sabine,  Henri. 

TaIIIE  ANAI.YTint'E  FT   SYNTIIETIOfE  ni*  DlC- 

tionnaire   Raisonn£    de   i.'Akciiitectike 

FRANI,AIS  DI'  XI.  AC  XVI.  SlECI.E  I'AK  E.   E. 

Vioi,i.Fr-i,E-I)i c  Paris,  Librairic  des  Im- 
primeries  Riunies,  i.HSi),  20  fr. 

An  index  to  VioMet-le-Duc's  great  work,  which 
every  student  should  possess,  although  it  is  far  from 
perfect.  The  index  in  the  tenth  volume  of  the  work  it- 
self is  entirely  confined  to  the  monuments  arranged 
under  their  geographical  heads.  720.3 

Salzenberg,  W. 

Al.T-CilRISTI.ICHE    lUrnENKMAI.F.    VON     CON- 
STANTINOPEL  VOM  V.  HIS  XI  I.  J  AIIRIIINDERT, 

im  AnhanKL'  des  Silentiarius  I'aulus  ;  He- 
schreibunj;  dcr  heilinen  Sophia  und  des  Am- 
bon. Uberset/t  von  Dr.  C,  W.  KortUm.  Ber- 
lin, Ernst  iS:  Sohn,  njo  marks. 

This  book,  though  large,  and  apparently  limited  in 
subject,  IS  important  to  every  student  as  giving  the 
best  information  obtainable  concerning  the  finest  church 
in  the  world— which  might  easily  be  maintained  to  be 
the  most  important  building  as  well.  The  book  by 
Lethaby  and  Swainson,  cited  above,  refers  continually 
to  this  work  for  its  illustration.  In  addition  to  Sancta 
Sophia,  some  of  the  smaller  Kyzantine  churches  of  Con- 
stantinople are  given  with  sufficient  fulness,  and  there 
are  large  colored  plates  of  mosaic  and  other  important 
specimens  of  Byzantine  art.  720.406 

Schuyler,  Montgomery. 

American    Arciiitectcre.      lllus.      N.   V., 
Harper,  1892,  $2.50. 

A  very  handsome  octavo  and  makes  a  good  gift- 
book.  Tne  six  essays  which  it  contains  are  not  con- 
nected except  as  their  subjects  are  similar.  The  diffi- 
culty in  treating  these  subjects  is  great,  because  there 
IS  so  little  ol  the  architecture  which  is  worthy  of  much 
praise  or  which  can  excite  sympathy 

Mr.  Schuyler's  criticism  is  characterized  by  remark- 
able good  sense  and  singular  insight.  Like  most  wri- 
ters on  architecture  he  IS  much  out  of  sympathy  with  the 
strong  tendency  visible  among  the  practising  archi- 
tects toward  an  architecture  of  mere  Roman  order  like 
that  taught  in  the  Schools.  This  sound  and  wholesome 
book  IS  very  stimulating  to  thought,  720.73 

Scott,  .SV;-  Gilbert. 
Rise  ano  Development  of  Medi.eval  Ar- 
ciiiTECTCRE.     lllus.     Lond.,  John  Murray, 
1879,  2  v.,  42s. 

A  very  valuable  book,  marred  by  the  disconnected 
character  difficult  to  avoid  in  a  volume  of  lectures, 
but  full  of  material  hard  to  find  elsewhere  and,  per- 
haps, impossible  to  find  in  such  intelligible  and  com- 
pact form.  In  the  single  important  subject  of  the 
essential  characteristic  of  Gothic  architecture,  il  is  in- 
ferior to  the  book  by  C.  H.  Moore,  but  it  covers  a  much 
wider  held  and  is  written  from  the  point  ot  view  of  the 
practised  designer  and  superintendent  of  many  im- 
portant buildings.  723 

Smith,  T.  R.,  and  Poynter,  E.  J. 

Architecture,   Gothic    and    Renaissance. 


''\M 


ill 


m 


46 


Architecture  and  Landscape  Gardening;. 


(Art  handbooks  scries.) 

$2. 


N.   \".,  Scribner, 


Not  inaccurate,  nor  hard  to  iinderstand,  but  vaRuc, 
discursive;  fails  to  (jive  clear  and  connected  ideas.  It 
fails  also  to  insist  on  the  most  important  points.  The 
smaller  part, devoted  to  the  Renaissance,  is  more  nearly 
accurate  than  that  given  to  the  Gothic.  There  Is  a 
short  glossary  of  technical  terms.  723 

Smith,  T.  R.,  mid  Slater,  John. 

ARCiHTKcrrKK,  Classical  and  Early  Ciiuis- 
TLW.  (.Art  hundbcjoks  scries.)  N.  Y., 
Scribner,  ?2. 

Contains  an  .iccount  of  ancient  architecture  in  Ejfypt, 
Western  Asia  —  Assyria,  E.istcrn  Asia,  Greece,  the 
Greek  colonics  and  the  Roman  Empire  ;  also  of  Uyzan- 
tine,  Romanesque,  and  Mohammedan  architecture.  A 
good  neneral  idea  can  be  obtained  from  it,  but  there  is 
in  it  no  sign  of  intimate  acquaintance  with  the  remains 
described  or  with  the  best  founded  conclusii  nsof  mod- 
ern archiologists.  Thusthe  Roman  buildingsare  said 
to  be  of  brick,  which  is  the  superficial  and  popular 
view  ;  the  wall  being  really  of  small  stones  laid  in  mor- 
tar and  only  faced  with  fine  hard  bricks.  So  the  ques- 
tion of  Grecian  Doric  temples  is  treated  as  if  they  were 
all  like  the  Parthenon  in  general  scheme  and  in  material. 
There  is  a  brief  glossary  of  technical  terms.  Some  of 
the  illustrations  are  very  good.  722 

Statham,  H.  Heathcote. 

ARCUITKCTfKK  lYIK  GkNKRAL  RkADERS.      Illus. 

N.  Y.,  Scribner,  $2. 

Treats  the  essential  truths  of  architecture  in  the 
order  of  the  subjects  and  not  historically  except  in  a 
secondary  sense.  Trabeated  architecture  is  distin- 
guished from  that  which  is  arcuated  ;  a  chapter  being 
devoted  to  each.  A  valuable  chapter  is  devoted  to 
architecture  in  relation  to  cities  and  landscapes.  There 
is  also  an  historical  sketch  occupying  iso  pages.  The 
book  can  be  trusted  as  sound  and  intelligent  and  may 
be  of  great  use  to  a  person  inclined  to  study  the  sub- 
ject thoroughly.  720.7 

Street,  Oeorge  Edmund. 

Some  Accotnt  of  Gothic  Architf.ctuke  in 
Spain.  2d  ed.  Lond.,  John  Murray,  1869, 
30s. 

The  architecture  of  the  mediaeval  cathedrals  and 
churches  in  Spain  had  been  scarcely  studied  before  Mr. 
Street  made  his  journeys  and  published  this  book  as  the 
result  of  them.  He  isan  English  architect  wholly  de- 
voted to  the  Gothic  revival  and  the  builder  of  many 
important  buildings.  The  drawings  of  the  author  are 
valuable  and  the  numerous  detailed  plans  of  churches 
are  undoubtedly  trustworthy  as  being  the  work  of  a 
very  able  and  conscientious  man.  720.46 

Brick  and  Marhlk  in  tiif.  Middlf.  Ages. 
2d  ed.     Lond.,  John  Murray,  1S74,  26s. 

See  what  is  said  of  this  author  under  his  work  on 
the  architecture  of  Spain.  The  present  work,  first 
published  in  1855,  describes  the  Gothic  architecture  of 
North  Italy,  especially  that  which  is  carried  out  in 
brick  with  marble  freely  used  in  the  composition.  The 
book  is  far  less  thorough  than  the  one  devoted  to 
Spain  ;  it  shows  but  little  sense  of  the  true  character  of 
Gothic  architecture  or  the  Italian  peculiarities,  but  the 
txierior  aspect  of  the  buildings  is  well  described,  and 
the  d"-' wings  are  valuable.  Street  was  only  thirty 
years  old  at  the  time  of  the  Italian  journey ;  he  was 
ten  years  older  when  the  book  on  Spain  appeared. 

720.45 
Sturgia,  Russell. 
European  Architecture;  a  Historical  Study. 
Illus.     N.  Y.,  Macmillan.  i8(/),  $4. 

"  The  essence  of  this  book  is  a  minute  study  of  the 
monuments  themselves,  with  no  other  reference  to 
documents  than  is  sufficient  to  fix  their  dates,  or  in  the 
case  of  those  monuments  that  have  nearly  perished,  to 
the  minute  investigations  of  archaeologists  by  means 
of  measurements  and  comparisons  made  on  the  spot. 
The  distinction  is  clearly  maintained  between  those 
monuments  which  exist,  although,  perhaps,  in  a  some- 
what ruined  or  altered  condition,  and  those  which  have 
practically  perished  and  which  have  to  be  reconstruct- 
ed by  mental  processes.  The  historical  record  begins 
with  Doric  temples  of  the  VI.  century  b.c.  down  to 
the  French  Revolution.  The  whole  is  then  divided 
chronologically  into  nine  chapters,  thus:  Chapter  5 
deals  with  the  architecture  01  Western  Europe  from 


1150  to  1300  A. p..  Chapter  .S  deals  with  the  architecture 
of  Western  Europe  from  1520  to  1665  a.d.,  etc.,  each  of 
these  later  chapters,  that  is,  from  1150  to  the  close,  is 
then  subdivided  into  five  sections,  as  follows:  France, 
Provinces  north  and  south  of  France,  Germany,  Eng- 
land, Italy."— /'«*//>/;t>i'  ll-fck/}:  720.40 

Lack  of  Okic.inality  i\  .AuciiriF.crtKK  ;  a 
])apcr  in  the  Kiii;iiii;riii^'  Miii;iniiic,  X.  V., 
Vol.  VI.,  p.  II  (October,  1S93). 

This  brief  paper  is  an  attempt  to  show  that  the  pov- 
erty and  feebleness  of  modern  architectural  fine  art  is; 
sutllciently  accounted  for  by  the  way  in  which  the  ar- 
chitectural profession  is  conducted.  The  architect 
being  paid  by  a  percentage  on  the  cost,  and  the  build- 
ings being  needed  in  great  haste,  that  there  may  be  no 
Inss  by  money  lying  idle,  the  tendency  is  toward  mak- 
ing the  architect  a  mere  fiduciary  agent. 

Article  Grecian  .■\RciniKCTrRE,  Johnson's 
Universal  Cyclopiudia,  ed.  1S93-5. 

Article  Hoi'SE,  Johnson's  Universal  Cyclo- 
pedia, ed.  1S93-5. 

The  City  IIocse  in  the  East  ano  South. 
In  "  Homes  in  City  and  Country."  N.  Y., 
Scribner,  1S93. 

This  paper,  the  first  in  the  volume  mentioned,  is 
especially  aimed  at  describing  the  arrangements  and 
plans  of  the  houses  built  before  1850,  but  gives  a  few 
instances  of  later  buildings  as  specimens  of  what  was 
being  done  in  New  York  between  1880 and  1890.  Should 
be  read  in  connection  with  Mr.  Mitchell  on  the  "  Country 
House  "  in  the  same  book. 

Texier,  Charles,  <;>/</ PuUan,  R.  Popplewell. 

L'.^RCiHTEcrURE  Hyzantine,  ou  Recueil  des 
Monuments  des  premiers  temps  du  Chris- 
tianisme  en  Orient,  pr6c6de  de  recherches 
Historiques  et  Arch6oIogiques. 

Hyzantine  Architectire,  or  collection  of 
the  buildings  of  the  earliest  times  of  Chris- 
tianity in  the  East  ;  preceded  by  historical 
and  archaeological  investigations.  Lond., 
Day  iS:  Son,  1864, ;^f)  6s.     Out  of  print. 

This  book,  published  in  London  both  in  French 
and  in  English,  is  valuable  as  a  collection  of  buildings 
not  otherwise  very  accessible  to  the  student.  Inaccu- 
racies in  other  works  by  these  authors  has  caused  the 
present  one  to  be  regarded  with  suspicion,  but  the 
buildings  treated  of  in  this  book  exist  in  the  form  in 
which  they  are  here  portrayed,  and  are  not  the  subjects 
of  such  restoration  as  was  found  inaccurately  described 
in  other  cases.  723.2 

Thomas,  F.  Inigo,  mid  Blomfield,  Reginald. 

The  Formal  Garden  in  England.  See 
Blomfield. 

Turner,  T.  H. 

Domestic  Architecture  in  Encland  from 

THE  C0N(,)UEST  lO  THE  END  OF  THE  THIR- 
TEENTH Century.  O.xford,  1853.  Out  of 
print. 

The  first  of  a  series  (see  Parker  and  Turner,  also 
Parker,  John  Henry).  720.42 

Vachon,  Marius. 

Philihert  de  L'Orme.  (L.A.C.)  Paris,  Li- 
brairie  de  I'Art,  1S87,  5  fr. 

This  great  and  original  architect  was  one  of  the 
chief  men  of  the  French  Renaissance  which  was  nearly 
a  century  later  than  the  Italian  movement  called  by 
that  name. 

A  valuable  and  interesting  biography,  with  illustra- 
tions much  to  the  purpose  and  valuable  in  themselves. 

720.44 
Van  Brunt,  Henry. 

Greek  Lines    and  Other   Architectural 
Essays.     Best.,  Houghton,  1893,  $1.50. 
The  work  of  a  practising  architect,  formerly  of  Bos- 
ton, now  settled  in  the  West,  and  who  is  yet  a  seeker 
for  the  spiritual  or  esoteric  meaning  in  every  work  of 


Architecture  and  Landscape  Gardening. 


47 


chitecture 
c,  each  of 
e  close, is 
i:  Franco, 
lany.  Rnu- 
720.40 

:iiKK.  ;  a 
■.   N.  Y., 


at  the  pov- 
tine  art  is 

ich  tlie  ar- 

;  architect 
the  buiUl- 
may  be  no 

iward  mak- 


fohnson's 


al    Cvclo- 


o  South. 
•     N.  Y., 

entioned,  is 
ements  and 
gives  a  few 
3f  what  was 
890.  Should 
le"  Country 


plewell. 

Lecucil  des 

du  Chris- 

rcchurches 


llcction  of 
s  of  Chris- 
'  historical 
s.  Lond., 
print. 

Ii  in  French 
of  buildings 
fint.  Inaccu- 
is  caused  tlie 
:ion,  but  the 
1  the  form  in 
t  the  subjects, 
ely  described 
723.2 


eginald. 


.\NI). 


See 


LANn   FKOM 
TllK  TlIIK- 

X.     Out  of 


art.  In  one  important  respect  his  criticism  differs  from 
that  of  most  critical  writers  ol  fine  art,  namely,  that  he 
finds  far  more  that  is  good  in  modern  architectural 
work  than  they.  720.4 

Van  Rensselaer,  Mrs.  Schuyler. 

Art  OiT  OK  Doors.  N.  Y.,  .Scrihner,  1S93, 
Si.  50. 

An  interesting  essay  on  the  beautifying  of  country 
places,  village  streets,  etc. 

Viollet-le-Duc,  "B,  E. 

Entrehens  si'R  L'ARniiTF.CTi'RE.  Transl. 
by  H.  Hucknall  as  DiscorKsKS  o\  Arciii- 
TECiiR?;.     Lond.,  Sampson  Low,  2  v.,  (')3s. 

There  is  nowhere  a  more  masterly  treatise  on  archi- 
tectural art.  Its  inmost  secrets  are  known  to  this  able 
writer,  who  sees  what  is  strong  and  what  is  weak  in 
every  style,  and  makes  it  clear  to  his  readers.  He  is 
also  a  master  of  explanatory  and  descriptive  drawing. 
No  other  such  illustrations  of  architectural  subjects  as 
fhose  in  his  books  are  known.  An  e.lition  of  this  work, 
published  by  Ticknor,  Boston,  1881,  $15,  is  out  of  print. 

720 

I)lCTin\NATRE    RAISONNfi    I)E  I.' ArCIHTEC  ITRE 

Fran(;a!s  III'  XL  w  XV'L  Sikci.e.     Paris, 
A.  Morel  &  Cic,  1S68,  10  v.,  250  fr. 

Of  this  great  and  useful  book  only  a  small  part 
has  been  translated  ;  namely,  in  book  form,  the  article 
on  construction,  for  which  see  under  Huss.  Of  the 
ten  volumes  one  is  devoted  to  a  table  (see  under  Sa- 
bine), and  the  other  nine  are  occupied  by  an  encyclo- 
paedia of  French  media;val  art  arranged  in  dictionary 
form;  for  which,  however,  the  tables  are  needed,  as 
many  of  the  articles  are  very  long,  and  require  refer- 
ence tables  as  much  as  books  do. 

The  author  is  in  many  ways  a  unique  person- 
age. He  was  an  architect  employed  (m  the  restoration 
of  many  of  the  most  Important  ancient  buildings  in 
Fr.uice ;  he  had  thus  unusual  opportunity  of  ascer- 
taining the  minutest  details  of  their  original  construc- 
tion. He  was  also  the  son  of  an  enthusiastic  student 
and  collector  of  mediieval  manuscripts  and  other  docu- 
ments; he  had  himself  a  gift  at  drawing  which  has 
never  been  equalled  in  Its  way.  HIsdrawings,  whether 
large  or  small,  highly  tinished  or  slight,  are  always 
faultless  as  means  of  explanation  of  his  meaning.  They 
were  made  with  great  speed  ;  it  is  supposed  that  of  the 
thousands  of  illustrations  in  this  book,  all,  or  all  e.\cept 
some  plans  and  diagrams,  were  drawn  by  his  own  hand. 
Inasmuch  as  France  is  the  country  in  which  Gothic  art 
took  its  origin  in  the  XII.  century,  developing  itself 
out  of  a  school  of  the  Romanesque  at  least  equal  to 
that  of  any  other  land,  it  follows  that  the  history  of 
mcdiajval  art  is  well  impressed  upon  the  student  by  the 
study  of  this  book,  combined  with  reference  to  such 
other  books  as  treat  of  the  art  of  special  countries  of 
Europe.  720.3 


Paris,    T-    Hctzel 


HisToiRE  n'rriE  Maison. 

&  Cie. ,  6  f r. 

A  popular  book  in  which  the  method  of  planning 
and  building  a  house  In  France  Is  given  in  a  way  easy 


to  understand.  The  much  greater  solidity  of  construe" 
tion  assumed  in  this  case  than  is  ever  given  in  America 
to  a  house  of  similar  size  and  style  is  well  worthy  of 
notice.  The  logical  and  intelligent  ways  of  building, 
avoiding  hollow  floors  and  furred  walls,  making  fire 
almost  impossible,  are  also  worth  study.  728 

HisToiRE  i)'i-\  Motet,  pe  Vii.i.e  et  iVi'se 
Caiii6i)RAI.k.    Paris,  J.  Hct/.el  vS:  Cie.,  10  fr. 

The  cathedral  and  the  town  hall  of  a  provincial 
French  place  of  a  few  thousand  inhabitants  are  made 
the  subject  of  an  Interesting  narrative  dealing  with  the 
times  from  the  Gallo-Roinan  rule  to  the  Revolution. 
The  buildings  themselves  are  kept  as  the  centre  of  the 
narrative,  but  the  history  deals  with  the  violence  and 
tyranny  of  the  feudal  period,  the  religious  wars  and 
the  pacification  under  the  absolute  monarchy  beginning 
with  Henry  IV.  Every  student  should  study  this  for 
the  close  connection  it  shows  betsveen  the  popular  life 
of  the  Middle  Ages  and  the  buildings  which  grew  out 
of  it ;  buildings  erected  In  a  traditional  way  familiar  to 
the  mechanics  of  the  time  and  not  the  work  of  archi- 
tects producing  designs  in  the  tranquillity  of  the  office. 

725 

Willis,  A-, T'.  R. 

Arcihtectiral  History  of  Canterhury 
Caiiiedrai..  Lond.,  Longmans,  1S45,  los. 
fid.     Out  of  print. 

This  little  book  retains  Its  critical  value  and  has  been 
for  50  years  the  type  of  small  architectural  monographs. 
The  author  Is  considered  an  authority  on  the  subject  of 
Gothic  vaulting ;  but  see  what  is  said  under  the  ne.xt 
title.  723 

The  CoNSTRfCTiox  of  the  Vait.ts  of  the 
Middle  Aces.  [Vol.  L,  Part  IL,  Transac- 
tions Royal  Institute  (jf  Hritish  Architects, 
1S42.]  (This  part  can  sometimes  be  bought 
separately.) 

Professor  Willis  was  almost  the  first  writer  to  dis- 
tinguish critically  between  Gothic  rib-vaulting,  which 
is  the  very  essence  of  Gothic  construction,  ana  other 
kinds  of  vaulting.  Later  writers  have  carried  the 
analysis  much  farther,  but  this  essay  remains  of  great 
value  because  of  the  minute  record  it  contains  of  the 
author's  own  observations.  Some  valuable  illustra- 
tions. 

For  later  treatises  on  Gothic  Vaulting,  see  Viollet- 
le-Duc,  Moore,  C.  H.,  and  Sturgis,  Russell.         721.4 

W51i9in,  H. 

Renaissance  fNn  Harock.  Eine  Untersuch- 
ung  fiber  Wesen  und  Entstehung  des  Ha- 
rockstils  in  Italien.  Munich,  Ackermann, 
iSSS,  4  marks. 

Most  works  on  the  Renaissance,  whether  Italian  or 
of  the  northern  nations,  stop  w  ith  the  complete  develop- 
ment of  the  neo-classic  art  near  the  close  of  the  XV. 
century,  or  with  the  beginning  of  what  is  called  the 
decline.  This  book  is  valuable  because  continuing  the 
discussion  along  the  unbroken  series  to  much  later 
times.  724.1 


i'i  ■, 


Turner,  also 
720.42 


Paris,  Li- 


^s  one  of  the 
ch  was  nearly 
lent  called  by 

with  illustra- 
1  themselves. 
720.44 


hitectural 

$1.50. 

•merly  of  Bos- 
i  yet  a  seeker 
every  work  of 


PART    IV. 

MINOR   DECORATIVE  ARTS;  COSTUME.   EMBROIDERY.  GLASS.  INLAY   AND 

MOSAIC.    LEATHER   WORK,    METAL  WORK,   POTTERY    AND 

PORCELAIN.  TEXTILE   FABRICS. 


These  arts,  called  also  the  subsidiary  arts  and 
by  other  similar  names,  differ  from  architecture 
only  in  the  comparatively  small  size  and  cost 
and  comparatively  small  importance  to  man- 
kind of  the  objects  which  belong  to  them.  It 
must  be  noted  that  the  essence  of  decorative 
art  is  that  it  adorns  some  object  which  is  neces- 
sary and  useful  in  a  practical  way.  Thus  a  lit- 
tle independent  figure  in  bronze  is  sculpture  ; 
but  the  pommel  of  a  sword  worked  Into  a  simi- 
lar figure  is  decoration  as  well  as  sculpture, 
and  the  whole  sword-hilt  so  adorned  is  a  single 
work  of  decorative  art.  Buildings  do  n(Jt  differ 
from  weapons  or  furniture  in  this  respect. 

Manuscripts  with  rich  decoration  are  ])roperly 
included  here  because  the  miniatures  and  even 
the  full-page  pictures  contained  in  them  are  sub- 
servient to  decorative  purposes  which,  in  this 
case,  is  that  of  making  the  writing  itself  orna- 
mental. 

Carvings  in  ivory  are  included  here  because 
in  most  cases  they  are  subservient  to  the  dec- 
orative purpose  of  book-covers,  the  backs  of 
mirrors,  consular  diptychs  and  the  like. 


I      On  the  other  hand,  coins,  though  ihey   are 

I  necessary  objects  adorned  by  art.    are  almost 

I  entirely  works  of  pure  sculpture  in  the  manner 

;  of  their  conception  by  the  artist  ,  this  is  even 

;  more  decidedly  true  of  engraved  gems,  whether 

j  cameo  or  intaglio,  for  although  the  intaglio  is 

primarily   intended  as  a  seal,    yet  the  artistic 

design  IS  the  whole   thing  and    is   not   part  of 

the  ornamentation  of  an  object  to  which  it  is 

added. 

Monumental  brasses  it  is  difficult  to  place, 
but  it  has  seemed  better  to  keep  them  with  the 
other  kind  of  art  named  above  in  Pan  II. 

During  the  jiast  forty  years  the  literature  of 
these  arts  has  grown  to  enormous  proportions. 
Few  of  the  good  books  are  in  English  and  still 
fewer  are  inexpensive.  The  selection  here 
given  is  of  books  which  are  essentially  artistic. 
Thus  in  costume,  Fairholt's  "  Costume  in  Eng- 
land ■  [(Bohn)  N.  Y.:  Macmillan.  2  vols..  $3], 
and  Planch6's  'History  of  British  Costume" 
in  2  quarto  vols.,  and  also  [(Bohn)  N.  Y.,  Mac- 
millan, $i.5(j],  are  valuable  historically;  but  are 
not  studies  of  decorative  art. 


Alexandre,  Arsene. 

JkA\    CARRlfis,    IMAGIER    KT     POTIF.R  :     Klude 

d'une  oeuvre  et  d'une  vie.     Paris.  Quantin, 
1805,  25  fr. 

See  Part  II.    Carries  was  excellent  as  a  decorative 
potter  ;  he  was  much  greater  as  a  sculptor.  738 


Lond.,  Sampson  Low 


Alford,  Lady  Marian. 

NKK.ni.KWORK  AS  ArT, 

iN:  Co.,  1 886,  21  s. 

A  carefully  made  book,  fully  and  well  illustrated 
Mainly  historical.  The  account  of  English  embroidery 
o(  different  schools  is  extremely  valuable.  Compare 
the  book  by  Caulfeild  and  Saward.  740 

Armstrong,  Walter. 

Ai.FRKi)     Stkvkns  :     a    biographical     study. 
Paris,  Librairie  de  I'Art,  1881,  15  fr. 

See  Part  II  Stevens  was  chiefly  known  as  a  dec- 
orative designer,  but  his  work  on  the  Wellington  Mon- 
ument entitles  him  to  rank  high  as  a  sculptor.         730 

Balfour,  Henry. 

Evolution   of  Df.corativk    .\rt.      N.    Y., 
Macmillan,  1893,  $1.25. 

An  interesting  and  suggestive  account  of  very 
primitive  forms  of  ornament,  both  prehiEtoric  and 
among  savages  of  our  own  time.  Careful  reading  of 
this  book  throws  a  good  deal  of  light  on  many  prob- 
lems of  line  art.  740 


Barber,  Edwin  Atlee. 

PoriKRY  AM)  Porcelain  of  tiif.  Unitf.!> 
Statf.s.  Illus.  N.  Y.,  Putnam,  i8()3,  $5. 
There  is  naturally  but  little  artistic  pottiry  made  in 
America,  but  there  are  a  few  old  wares  that  are  attrac- 
tive, and  two  cr  three  modern  establishments  have 
produced  decorative  pieces  as  g()od,  perhaps,  as  modern 
industrial  conditions  allow.  The  present  work  repro- 
duces in  photography  a  great  number  of  pieces,  and  al- 
though the  true  effect  ot  the  painted  vase  is  noi  easy  to 
render  in  photography,  even  apart  from  its  coloring, 
such  pictures  sliTl  have  value  for  reference.  The  text 
IS,  of  course,  mainly  historical  738 

Benson,  W.  A.  S. 

Elements  ok  lL\NnirRAFT  and  Dksicn,  Il- 
lus. N.  Y.,  Macmillan,  $i.f>o. 
Intended  for  school  workshops,  but  its  directions  for 
simple  carpenter  work  and  the  making  of  book-shelves 
and  tables  are  excellent,  and  are  illustrated  with  94 
drawings.  The  soundest  principles  of  design  are  ex- 
plained in  simple  language  and  well  enforced.  This 
part  of  the  book  ii  important,  because  there  is  a  strong 
tendency  in  our  times  towards  mere  taking  of  designs 
from  old  works.  This  shows  how  designs  are  made, 
originally.  The  final  chapter  gives  good  general  ideai 
as  to  coloring,  and  a  lung  bibliography  is  added.  •  740 

Birch,  Samuel. 

History  of  Ancient   Pottery,   Ecvi^tian, 
Assyrian,  Greek,  Etruscan,  and  Roman. 
Lond..  John  Murray,  1873,  42s. 
A  standard  of  reference,  although  newer  books  con- 
tain much  not  given  in  it.    See  A.  S.  Murray  and  Lau. 

738 


Minor  Decorative  Arts. 


49 


II- 


Birdwood,  Sir  Oeorgo  O.  M. 

Industrial  Arts  ok  India.  Lond.,  Chap- 
man &  Hall,  1880  2  V  ,  14s. 

Not  very  thorough.  Relates  raiher  to  the  modern 
and  def^eneratf  art  ot  India  than  lo  its  finer  develop- 
ments in  the  past.  There  is  however,  much  ol  the 
original  spirit  letl  in  Indian  decoration  Persons 
brought  up  in  European  habits  ol  thouehi  cannot  leatn 
too  much  of  thai  instinctive  ornameniation  such  as 
Europe  also  possessed  down  to  the  XVI  century,  but 
has  now  almost  wholly  lost  600 

Blanc,  Charles. 

Gkammairk  des  Arts  DftcoRATips  :  cl6cora- 
ti(jn  interietite  etc  la  Maison,  Paris,  Lau- 
rens. 13  fr. 

See  what  is  said  nboui  the  same  author  s  '  Gram- 
maire  des  Arts  du  Dessin,'   in  Pan  I  740 

Bonnard,  Camille. 

C</snMEs  iiisroRiQfES  des  la^'-is"  siftriES 
tir^s  ties  moniiim-nts  les  plus  aulhcntiques 
tie  peinlure  et  tie  sculpture,  dessin^s  et 
(4rav6s  par  1'.  .Mercuri.  Nouv.  edition  avec 
une  Introduciicjn  par  C  Hlanc.  Paris,  Levy 
fils,  1860-61    3  V  ,  250  fr 

Probably  the  most  artistic  ol  books  on  costume. 
Gives  .1  i;real  deal  o(  attention  10  ihe  costumcsol  Italy 

Boutell,  Charles. 

Arms  and  Arnkh'r  in  Antiqi'ity  and  the 
Middle  Aces,  also  a  descriptive  notic,  of 
modern  weapons.  Lond.,  Reeves  iS:  Tur- 
ner. 1S74.  •  Out  of  print. 

Made  up  Irom  "  Armeset  Armures,'  by  P  Lacombe. 
(Pans,  Hacheite,  fr  a.asl  The  original  work  contains 
many  errors,  some  ol  an  inexcusable  character  Mr 
HniitcHs  preface  explains  the  necessity  he  has  felt  of 
rccasiing  the  book  entirely  while  yci  he  lias  not  wholly 
avoided  the  errors  of  the  original,  as  in  6k  sq,  where 
a  suit  ol  armor  is  dated  at  least  a  century  too  early 
Mr  Boutell  is  a  writer  on  heraldry  and  a  mediceval 
archicologist  of  considerable  reputation.  While  this 
book  IS  not  iis  full  as  Demmin's  book  nor  above  suspi- 
cion as  to  accuracy  in  detail,  it  is  still  useful.  380 

Burty,  Philippe. 

Bernard  Pai.issv.  (L.A.C.)  Paris,  Librairie 
dc  I'Art,  1S86,  5  fr. 

As  a  decorative  artist,  Palissy  has  been  greatly  over- 
rated, but  the  lomantic  legends  that  hang  about  his 
name  and  the  enormous  prices  which  his  authentic 
works  bring  at  auction,  give  him  a  somewhat  factitious 
renown.  738 

Caulfeild,  S.  F.  A.,  •ind  Saward,  B.  C. 

Dicitonary  ok  Needlework.  Lond..  L. 
UpcottGill,  1885,  2IS.  With  colored  ])lates, 
31s.  6d. 

Almost  as  fully  devoted  to  practical  considerations 
and  to  teaching  ttie  art  as  Lady  .Mford's  book  is  to  his- 
tory No  book  of  advice  and  instruction  will  seem 
wholly  adequate  to  those  who  try  lo  learn  from  it,  but 
this  one  IS  believed  to  be  thorough  and  careful  and  is 
certainly  very  full.  Many  illustrations,  well  adapted 
to  iheir  purpose.  746 

Se  Ohampeaux,  Alfred. 

Le  Meihi.e,  XVIL,  XVIIL,  et  XIX.  Si^cles. 
(H.E.H.A.)     Paris,  Quantin,  2  v..  10  fr. 

These  two  volumes  treat  the  subject  in  proportion 
to  the  number  of  examples  that  exist  rather  than  the 
importance  of  the  epcclis  considered.  Thus,  40  pages 
sumce  for  all  that  tl  e  writer  has  to  offer  concern- 
ing the  furniture  of  Egyptian,  Syrian,  Greek,  Roman, 
and  Byzantine  antiquity  The  art  of  the  Middle  Ages 
occupies  80  pages,  the  art  of  the  Renaissance  1  ;o  pages 
more,  and  tne  whole  second  volume  is  devoted  to  the 
XVII.  and  XVIII.  centuries.  It  is  therefore  much 
more  to  one  who  studies  furniture  as  a  matter  of  prac- 
tical design,  than  to  the  archaeological  student  of  the 
subject,  that  these  volumes  appeaL  There  are  aoo  il- 
lustrations, very  expressive  and  spirited  ;  the  text  is 
written  with  great  intelligence  and  thorough  knowl- 
edge cf  the  subject  in  all  its  branches,  645 


Deck,  Theodore. 

La    Faience.      (H.E.M.A.)      Paris.    Quantin, 
1887,  5  fr. 

Mr.  Deck  is  the  well-known  founder  of  a  great  estab- 
lishment lor  the  production  ol  decorative  pottery  ,  he 
has  written  with  the  knowledge  ot  an  expert  but  also 
without  much  power  of  impailing  his  knowledge  to  the 
student  who  is  not  himself  a  ceramist.  The  book  is 
rather  a  collection  ol  recipes  lor  the  manulaciure  ot 
decorative  pottery  than  a  popular  essay  on  the  subiect 
There  is,  however,  an  historical  essay  which  the  author 
states  IS  mainly  a  compilation  irom  other  writers  The 
chief  value  o:  the  book  to  most  persons  will  be  the  long 
series  ol  illustrations,  most  ot  which  will  haidly  be 
found  in  other  books  Those  which  represent  modern 
productions  of  Mr.  Deck  s  own  factory  are  especially 
worthy  ol  note.  738 

Demay,  Jean  Qermain. 

Le    CosrtME    ac    moyen-.uie    d'apres    les 
SCEAI  X,     Paris.  Dumoulin,  iSSo   20  fr. 

Devoleri  10  a  study  of  dress  and  insignia,  chicHy 
mediiEval,  taken  from  the  valuable  seals  appended  to 
ancient  documents  or  discovered  in  recent  researches 
Compare  what  is  said  of  the  whole  subject  of  seals 
under  Lecoy  de  la  Marcheand  Middleton  in  Part  II 
In  the  study  of  costume  these  small  bas-relicfs  or  in- 
taglios are  extremely  valuable  as  being  wholly  trust- 
worthy, As  exemplifying  the  art  of  sculpture  in  the 
Middle  Ages  they  are  important  as  being  wholly  free 
from  restoration  and  as  showing  another  side  ol  the 
same  great  art  which  has  adorned  the  cathedrals,  300 

Demmin,  Augusta. 

Die  Kriegswaiken  in  hirer  HisTORisriiEN 

ENTWK.KEI.LNt;  VON    DEN  Al.TESI'EN   ZeII  EN 

HIS  ACE  dieGecenwart.  Leipzig.  Friesen- 
hahn.  1891  10  marks.  Gitde  des  Ama- 
TEIRS  d'ARMES  El'  Armires  ancihnnes. 
2"'«  ed.  Paris  Laurens,  16  fr.  TransI  hy 
C.  C.  HIack  as  Arms  AND  Ar.moir.  (Hohn.) 
N.  v.,  Macmillan,  §2.25. 

The  best  small  book  on  ancient  arms  and  armor. 
Tiie  author  a  German  by  birth,  but  u  Frenchman  by 
residence  for  many  years  brought  out  this  book  in 
French  and  German  at  the  same  time:  the  German  edi- 
tion IS  named  first  because  the  latest  and  fullest  which 
has  come  to  the  writer's  notice.  The  illustrations  are 
slight  sketches,  extremely  informal,  and  the  reverse  of 
decorative,  but  accurate  in  the  way  of  fixing  the  im- 
portant lines  and  ol  insisting  upon  construction.     380 


Paris,  Morel  & 


Du  Sartel,  Octave. 

La  Porcei.aine  dk  Chine. 
Cie. ,  1S82,  2(x)  fr. 

This  splendid  decorative  art  is  so  many-sided,  and 
covers  so  large  an  epoch  chronologically,  as  well  as  so 
many  towns  and  so  many  semi-independent  provinces, 
that  no  one  book  can  hope  to  exhaust  the  subject.  The 
32  plates  ol  this  book  are  mostly  in  co'or  and  are  all 
good  ot  their  kind,  but  they  cannot  show  more  than 
a  few  varieties.  There  are  also  120  very  well-drawn 
figures  in  the  text.  Compare  the  book  described  under 
(jrandidier  and  the  handbook  ol  Mr  Paltiologue.     738 

Bvans,  Maria  Millington  (Lady  Evans). 

CuAi'TEKS  ON  Greek  Dress,     lllus.     N.  Y., 

Macmillan,  1S93.  $2. 

Of  general  value  as  containing  an  analysis  of  the 
most  simple  and  beautiful  costume  known  to  us,  that 
of  the  ancient  (ireeks  ;  and  also  as  being  a  key  to  that 
important  part  of  sculpture  and  painting  which  we  call 
drapery,  which  with  European  artists  is  founded  on 
Greek  examples.  301 

Indi  strial  Arts,  The:  Historlal  Sketch- 
es: (One  of  the  Art  Handbooks  of  .South 
Kensinjjton  Museum).  Lond.,  Chapman 
vSc  Hall,  3s.     Out  of  print. 

A  good  general  account  of  the  ornamental  arts  as 
represented  in  museums.  608 

Fletcher,  William  T. 

HooKHiNDiNc  IN  Enclani)  AND  France.   IlIus. 


I 


■Li  ;X 


m 


5° 


Minor  Decorative  Arts 


Lond.,   ScflfV  iS:   Co.      N.  Y.,  Macmilluii, 
i8(j6.  $3.50. 

The  study  of  French  bookbindlnij  formed  .1  Port 
folio  Monograph  for  Oct.,  1894.  That  on  Entjhsh  book- 
binding  is  of  the  form  of  such  a  Portfolio  number,  but 
has  not  yet  appeared  in  that  series.  One  obiecl  in  nam- 
ing this  book  IS  to  call  attention  to  the  17  splendid  col 
orcd  plates,  examples  of  ihe  latest  and  most  valuable 
development  of  chromo-lithopraphy.  There  are  also  a 
large  number  of  text  illustrations,  fairly  good  half-tone 
prints.  Bookbinding  in  its  highest  development  is  a 
decorative  art  of  peculiar  and  unique  interest,  although 
in  general  one  gets  from  it  less  art  and  more  good 
mechanism  and  careful  finish  for  his  money  than  from 
most  decorative  industries.  France  has  always  taken 
the  lead  in  such  industries,  and  this  book  gives  a  good 
analysis  of  bookbinding  as  practised  in  France  from 
the  Middle  Ages  down  to  the  Revolution  The  sketch 
of  the  art  in  England  will  serve  as  a  good  introduction 
to  the  study  of  a  very  peculiar  and  characteristic  school 
ol  binders  686 

Fortnum,  O.  Drury  E 

DeSCRIPTIVK  C.MAI.oillK  OK  TlIK  MaIOMCA 
HlSl'AN()-Mi)KKS(  I)  I'KKSIAN  DaMASCTS. 
AND  RllODlAN  WakKS  IN  Soflll  KkNSINC.TON 

MiSKiM.     Loud     Chapman  &   Hall.   1873 
2s.  6(1. 

See  what  is  said  of  this  author's  work  on  European 
bronze.  Pan  II  In  this  book  the  introduction,  of  108 
pages,  does  noi  pretend  to  be  a  complete  history  of  the 
important  classes  of  pottery  described  in  the  catalogue 
It  IS.  however,  an  excellent  description  of  them  with 
careful  discrimination  berweentheird'fferent  limesand 
with  shrewd  remarks  upon  their  characteristics.  In  this 
book  as  in  the  bronze  book,  the  catalogue  is  enriched 
by  descriptive  and  critical  notes ;  these  notes  are  so 
numerous  and  so  long  thai  the  catalogue  of  what  is  not 
a  very  large  collection  is  extended  to  650  pages  The 
collection  is  fine  however  and  the  works  of  nearly  all 
schools  are  represented  il  il,  Twelve  colored  plates 
and  50  or  60  wood-cuts  738 

Maioi.Ica:  a  Historical  Treatise  on  the  Glazed 
and  Enamelled  Earthenwares  of  Italy   etc., 
also  some  notice  of  the  Persian,  Damascus 
Rhodian.    and    Hispano-Morcsque    Wares 
O.xford,  Clarendon  Press.     N.  Y,,  Macmil- 
Ian.  1895   $13 

Not  in  any  sense  a  reissue  or  revised  edition  of  the 
same  author  s  book  devoted  to  the  South  Kensington 
Museum  collections  Contains  a  great  number  ol  pho 
tographic  illustrations  and  will  undoubtedly  prove  the 
best  work  on  the  sub]cct  existing  The  different  kind 
of  pottery  treated  arc  alike  in  that  they  are  made  of 
coarse  earthenware  covered  with  a  fine  opaque  enamel, 
which  in  Its  turn  is  decorated  witli  color  and  with  what 
IS  called  metallic  lustre.  They  are  the  most  splendid 
or  all  cramic  wares  738 

Foster,  J  C,  and  Atkinson,  T-  D. 

iLl-USlRArKD   CaTAI.OCU'K  OF  TlIK    LoAN   Coi.- 

LKCTION  Ol'"   Pi.AiK.   exhibited  in  the  Fitz- 
william  Museum   May    1S95,     lllus.     Cam- 
bridRe,     Deighton,     Bell    iS:    Co,       N,    Y 
Macmillan,  iScjO   $6.50. 

A  small  quarto  of  132  p  and  16  photographic  plates 
It  IS  chosen  out  of  many  works  on  decorative  metal 
work,  because  It  'S  not  expensive,  the  photographs 
are  of  great  beauiy  and  give  wel'  the  details  ol  the  old 
plate,  the  pieces  selected  for  such  illustration  are  of  a 
good  style  <ind  characteristic,  the  small  illustrations  in 
the  text  ar>*  trustworthy  and  valuable  the  text  is  singu- 
larly critical  and  business-like  In  all  these  respects, 
but  especially  the  last  the  book  is  worthy  of  great 
praise  It  is  in  itself  a  vauable  introduction  to  the 
study  not  only  ol  old  plate  but  also  ol  decorative  :iri  in 
many  aspects.  736 


I. A  CfikAMiotTK  ;  FaIencf.s- 
Paris    Librairie  de  I'Ari. 


Oarnier,  Edouard. 

DlCnoNNAlRF.    I)F. 
GKftS-PoTEKIF.S 

i8y3    30  fr. 

This  '■mall  book  is  devoted  almost  exclusively  to  the 
curious  and  interesting  glazed  potteries  of  the  XVII. 
and  XVI II  centuries-  ol  such  admirable  varieties  as 
those  known  by  the  names  of  Nevers.  Mousi  lers,  Rouen , 
Saint-Porchaire  (which  last  means  Henri  II.  ware), 
Marseilles,  Deltt,  and  Oouai,    The  English  -vares  of 


the  period  are  also  touched  upon  These  beautiful 
varieties  of  decorative  poilcry  are  liiile  studied  in 
America,  where  the  taste  is  generally  for  the  more  deh- 
cale  and  more  costly  wares  There  are  a  number  of 
colored  plates,  but  cheaply  made,  as  the  whole  work  is 
inexpensive.  738 

Orandidier,  Ernest. 

La  Ckramiijik  Ciiinoise.  Paris,  Firmin- 
Oidot,  iS(j4   65  fr. 

See  above  under  Du  Sartel  The  present  work  con- 
tains 42  plates  in  black  and  white,  giving  180  pieces  of 
porcelain  in  admirable  photogravures  by  Dujardin 
The  author  of  this  book  is  a  great  collector,  and  all  the 
pieces  Hescribcd  or  pictured  are  taken  from  his  own 
cabinets. 

It  cannot  be  said  that  the  history  of  Oriental  porce- 
lain IS  thoroughly  known  to  Europeans  Vear  by  year 
more  is  learned,  and  from  this  point  of  view  the  latest 
book  may  be  thought  the  best.  The  assertions  concern- 
ing dates,  places  of  manufacture,  and  the  significance 
of  emblems  and  the  like  are  always  open  to  revision. 

738 

Ouiffrey,  Jules. 

HisroIRK  UK  I.A  TaI'ISSKRIK   DKITIS   I.E  MriYEN 

ACE   jisijr'A    Nos    jofks.      Tours.    Alfred 
Mame.  1884.  20  fr. 

A  larger  book  than  the  little  handbook  mentioned 
under  Mdntz  on  he  same  subject  A  large  octavo  of 
510  pages,  with  many  illustrations,  of  which  four  are 
cFiromo-lithographs  of  excellent  ciccution.  The  sub- 
ject of  tapestry  recommends  itself  to  every  student  of 
decorative  art.  This  volume  is  very  trustworthy  and 
even  approaches  Ihe  completeness  of  a  history  See 
a.so  Havard  and  the  handbook  by  MUntz.  746 

Havard,  Henry. 

Les  Arts  de  i.'AMEriti.EMENr .  La  Veruerie, 
avec  430  illustrations  par  H.  M61in  Paris, 
DeluKrave,  1S94,  fr,  2.50 

One  of  the  scries  of  books  on  the  fine  and  mdusirial 
arts  used  in  the  way  of  furniture  and  decora  on  Mr 
Havard  turns  his  fiands  to  many  branches  of  art  and 
IS  rather  a  compiler  than  an  original  workman  but  his 
books  arc  sure  to  be  good  of  their  kind  .  and  some  have 
been  excellent  Ol  late  years  he  has  given  especial 
attention  to  decorative  art  His  work  has  secMttd  high 
esteem  in  his  own  country  645 

La  Tai'Isserie,  90  illustrations  par  S.  Htigard. 
Paris,  Del.igrave    1893.  fr.  2.50 

Compare  what  is  ■•aid  of  the  art  of  tapestry  under 
Guiflrey  Thisisanother  work  of  about  the  same  scope, 
and  perhaps  equally  serviceable  as  a  book  of  general 
reference  746 

Hildebrand,  Hans. 

INDISIRIAI.    ArIS    of     ScANDINAVI.^     IN     HIE 

Pacan    Time,      Lond.,   Chapman  it    Hall 

1S83.  2s.  6d 

There  IS  much  that  is  interesting  in  the  decorative 
art  of  the  early  northern  peoples.  These  arts  have  not 
had  great  influence  on  the  later  and  more  developed 
art  of  Europe  ,  for  this  reason  they  are  worthyof  study 
by  those  who  are  interested  in  the  forgotten  and  worthy 
efforts  of  the  human  mind  609 

Hottenroth,  Friedrich. 

Le  Cosh'me,  i.ES  armes,  i'siensii.es,  ofiti.s 

DES  TEt'l'LES  ANCTENS  ET  MODERNES.      2  vols. 

in  I.      Paris,  Guerinet.  1S90.  70  fr. 

A  very  handy  history  of  costume,  many  examples  be- 
ing grouped  on  each  page,  390 

Jaennicke,  Friedrich. 

GRfNDRISS    DER    KeRAMIK   IN    BF.ZlJr,  AfF  DAS 

KuNsi'tiEWERHE.  Eme  historische  Dar- 
stellun^  ihres  EntwickelunijsKanges  in  Eu- 
ropa  dcm  Orient  und  Ost-Asien  von  den 
aeltesten  Zeiten  bis  ;.uf  die  Gegenwart 
Stuttgart,  Paul  NefT,  1879,  42  marks. 

A  large  octavo  of  nearly  1200  pages,  containing  450 
illustrations  besides  2645  marks  and  stamps.  Probably 
the  most  systematic  history  of  pottery  and  porcelain. 


(H.E.H.A.)   I'iiris, 

by  A.  S.    Cole   as 

Phila.,  Lippincott, 

746 


so  far  ni  least  as  toncern'i  ihc  wares  nf  F.urope  from 
the  medicpval  epoch  to  mo:)crii  times.  AnlKiuity  and 
the  Orient  receive  but  slight  notice  738 

Lau,  Theodor. 

DiK  GkIKCMISCIIKN  VasKN,  IMKK  FoKMK.V   INI) 

Dkcoraiionssvstkm.     l.eipziu;,   K.  A.   Scc- 
inann,  1S77,  2  v.,  5O  marks. 

This  small  folio,  with  44  plates  in  colors,  is  the  best 
book  from  which  to  jjet  a  knowlccige  of  the  forms  and 
general  decoration  of  Greek  vases.  The  vessels,  of 
many  different  shapes,  are  shown  in  their  general  form, 
both  in  outline  and  co'or  ;  scctionsof  them  are  given  to 
show  the  thickness  of  their  material,  and  the  painted 
patterns  and  figures  are  given  on  a  larger  scale.  In 
short,  It  is  a  handbook  of  ancient  ceramic  art,  for  the 
te.xt  IS  simple  and  easy  of  reference  and  of  comprehen- 
sion. 738 

liofebure,  Brnest. 

Urddekiks  v:y  I)i;NrF.i.i,Ks. 

.    iJuatitin,   5  fr,     Transl, 

Emhkoidkky  AM)  Lack, 

18S8,  $3.50 

I<ethaby,  W.  R. 

LKAI)  WoKK    Ol.n  AND   OrnAMKNTAI.  AM)    FDR 

'iiiK   Mosr   I'ARi'    En(;i.isii.     Illus.     N'.    Y  , 
Macmillan,  1893,  $1.25. 

Lead  work  has  been  an  important  branch  of  decora 
tive  architecture.  American  roof-tittings  in  tin  and 
copper  give  no  idea  of  the  truly  ornamental  uses  to 
which  lead  has  been  applied  in  Europe  for  seven  cen 
tunes.  Some  attempt  is  being  made  in  these  days  to 
revive  the  ancient  art,  and  upon  this,  and  upon  the 
am  ent  practice,  this  is  an  excellent  essay.  005.4 

Xilley,  A.  E.  V.,  <ui,/  Midgley,  W. 

SiTDiKs   IN   I'l.ANi'  Form,  \vni[  Sdme  Sic- 

CKSriONS    FOR    TlIKIR    AlM'I.ICATION    I  ( )    Dk- 

SKIN,     lllus.     N.   Y.,  Scribner,  iS(/).  Sf.50. 

There  are  many  books  in  existence,  some  old  and 
some  new  in  which  it  is  proposed  to  show  the  student 
how  designs  are  made  from  natural  forms,  with  or 
without  the  addition  of  color  This  book  is  mentioned 
because  the  designs  contained  in  it  are  often  good, 
sometimes  very  good,  and  in  a  few  cases  excellent, 
phrases  which  could  not  be  used  in  relation  to  any 
other  such  book  now  in  mind. 

It  IS  to  h;  observed  that  designs  which  are  altogeth- 
er inspired  by  natural  forms  are  free  from  the  faults 
and  from  the  virtues  alike  of  conventional  patterns 
based  on  recognized  -jtyles  of  d'coration;  they  will 
neither  be  Renaissance,  nor  Gothic,  nor  Romanesque, 
nor  Rococo,  nor  Greek,  nor  I'ersian,  nor  Chinese  It 
will  seem  to  many  that  such  novelty  in  design,  starting 
from  fresh  premises  and  coming  f  novel  conclusions, 
IS  what  IS  most  needed  Of  course,  nothing  really  good 
can  come  of  it  so  long  as  each  season's  line  of  goods  re- 
quires a  new  set  of  patterns  and  the  old  patterns,  good 
or  bad,  arc  thrown  out  as  old  stock  There  is  no  real 
hope  for  our  decorative  art  in  any  of  the  branches  which 
fashion  governs  in  this  way. 

Beside  the  question  o(  pattern-designing  the  book 
contains  information  about  processes  in  embroidery, 
tiles,  jesso,  etc.  640 

Ijyon,  Irving  Whitall. 

Coi.nNiAi.    FrRNiriRF.    of    New     Enci.anh. 
Host  ,  Ilou^hion,  iS()i,  $10. 

Apart  from  the  traditional  interest  which  so  many 
Americans  take  in  the  New  England  furniture  of  the 
XV'Il.  and  XVIII  centuries,  this  furniture  has  its  per- 
manent value  in  connection  with  the  "Old  Colonial" 
aiihitecture,  as  this  has  its  value  in  connection  with  the 
English  architecture  of  the  time  of  Queen  Anne  and  the 
Georges  This  interesting  book  contains  113  illustra- 
tions mostly  photographic-  the  text  is  a  thorough  ex- 
I  of  the  whole  subject.  645 


ammation  of  the  whole  subject. 


Maindron,  O.  R. 


Maurice. 

(H.E.H.A.) 


Paris,    Quantin, 


Lks  Armfs, 

5fr. 

The  most  scientific  of  all  the  small  handbooks  on 
weapons  and  armor  It  contains  250  pictures  besides 
marks  of  armor-smiths  ;  these  are  carefully  drawn  and 
their  dates  and  descriptions  given  with  accuracy.  The 
book  has  the  great  advantage  of  coming  down  to  very 


recent  times  and  explaining  the  arms  and  armor  worn 
under  Louis  XIV.  as  completely  as  iliose  of  earlier 
times.  Probably  the  best  book  to  study  if  one  would 
understand  how  armor  was  worn  and  weapons  were 
used  ,  this  being,  of  course,  a  necessary  preliminarv  to 
the  study  of  that  decoration.  300 

Marryat,  Joseph. 

History  OF  PoriKRVAND  Porcki.ain.  Medi- 
/KVAi.  and  Modern.  Loml..  John  .Murray, 
i86,S.  42s. 

An  old  book  ;  many  treatises  have  appeared  since  its 

Fublication,cven  in  the  late  edition,  but  it  still  has  value 
n  fact,  no  one  of  the  many  books  on  ceramics — cer- 
tainly none  in  English— replaces  all  others,  and  it  is 
even  hard  to  select  the  one  which  will  prove  the  best 
for  ordinary  occasions  Compare  the  books  namrl 
under  I'rime  and  Jaennicke.  738 

Maskell,  William. 

Descrii'tion  of  the  Ivories.  Ancient  and 
Medi.-evai,,  in  'Iiie  Soi'iH  Kensin(;i()N  Mf- 
SEi'M.  Lond..  Chapman  iS:  Hall,  1S72,  2s. 
6d, 

Ivory  carving  is  one  of  the  most  interesting  of  the 
decorative  arts,  partaking  as  It  does  of  the  qualities  of 
very  perfect  sculpture  Ivory  has  always  been  a  favor- 
ite material  for  delicate  sculpture ;  of  the  epochs  of 
art  represented  by  the  South  Kensington  Museum, 
there  are  carved  ivories  for.  perhaps,  every  one  Con 
sular  <"iptychs  of  the  IV.  and  V.  centuries,  medieval 
mirrors  and  episcopal  crooks  and  renaissance  and  later 
statuettes  and  ba^^-reliefs  are  all  represented  in  the 
South  Kensington  Museum  and  in  this  book  which  un- 
locks Its  treasures  736 

Melani,  Alfred  O. 

Decorazione  e  Indi'strie  Artisticiie.  Mi- 
lano.  riric(j  Hocpli,  18S9.  2  v..  6  lire. 

Forms  one  of  the  Hoepli  Manuali  and  is  by  the  same 
author  as  the  Architettura  Italiana,  mentioned  above. 
The  reasons  for  recommending  it,  the  same  as  sug- 
gested in  the  other  case,  are  perhaps  even  more  influ- 
ential here  Italian  art  has  always  been  decorative 
rather  than  constructional,  and  this  book,  though  not 
confined  to  Italian  decoration,  draws,  naturally,  many 
of  Its  conclusions  from  Italian  examples.  This  is  par 
ticularly  true  of  the  second  volume.  The  work  is  cal 
culated  to  give  a  good  general  view  of  decorative  art  m 
M  ages.  740 

Middleton,  J.  Henry. 

Article  Textile  FAHUirs.  Encyclop.Tdia   Hri- 
tannica,  ylh  cd. 
Gives  much  attention  lo  artistic  design  in  stuffs 

Article  Plate,  Encyclopxdia  Hritannica,  'jth 
ed. 

Article  Mosaic,  Encvclopa;dia  Hritannica.  (jth 
cd. 

Ilu'minated  Mani'scripts  in  Classical  and 
Medleval  Times  ;  their  Art  and  their 
Technique.  Illus.  Cambridge,  Cambridge 
University  Press,  1S92,  2is. 

See  what  is  said  of  the  author  in  connection  with  his 
book  on  engraved  gems.  Part  II  The  general  subject 
of  illuminated  and  illustrated  manuscripts  IS  very  well 
treated  in  this  book  indeed,  there  are  points  made  and 
information  given  which  it  is  not  usual  to  lind  in  any 
accessible  ^ork.  006 

Morris,  William. 

Hopes  AND  Fears  for  Art,     Host.,  Roberts, 

$1,25. 

See  in  Part  I  what  is  said  of  this  writer  and  his  in- 
terest in  decorative  art  as  it  was  practised  in  days  when 
tradition  and  non-academic  leaching  governed  it.   704 

Morris,  William,  Edilor. 

Arms  and  Crafts    Essays:  Hy    .Members  of 

the   Arts   and    Crafts    Exhibition    Society. 

N.  Y.,  Scribner,  iSi)3   $2.5". 

Some  excellent  papers,  such  as'  Furniture  and  the 
Room,"  by  Edward  S    Prior,  and      The  Room  and 


52 


Minor  Decorative  Arts. 


Furniture,"  by  Halsey  Ricardo.  Mr.  Morris's  preface 
IS  also  important.  "Modern  Embroidery,"  by  Mary 
E.  Turner,  is  one  of  the  papers  which  have  peculiar 
value.  Contains  also  "  Decorative  Printing  and  De- 
signinc,"  by  Walter  Crane,  "  Bookbindine,  '  by 
Cobden  Sanderson,  and  •'  Dyeing,''  by  William  Morns. 

602 


MUntz,  Eugene. 

La  Tai'Isserik 
Quantln,  5  fr 


(B.E.B.A.)    Paris.    Mdison 
Transl.  by  Miss  L.  J.  Davis 

as  Short  History  of  Tai'estry.     N.  Y., 

Cassell,  $2. 

The  word  Tapisseric  corresponds  to  the  English 
tapestry  and  also  to  worsted- work,  done  with  the  needle. 
In  the  former  sense  it  denotes,  perhaps,  the  most  digni- 
fied and  exalted  of  all  the  decorative  arts.  Very  large 
and  costly  works  have  been  devoted  to  the  subject 
without  exhausting  it,  or  even  doing  it  full  justice. 
The  small  book  here  named  is  as  good  a  handbook  as 
one  IS  likely  to  find  and  is  well  illustrated.  It  is  inter- 
esting reading  as  well  as  valuable  for  the  information 
It  contains.    See  under  GuifTrey  and  Havard.         740 


Lond.,  Sampson 


Palissy,  B.     See  Kurty.  P. 

Palliaer,  Mrs.  Bury. 

History  ov  Lace.     3d  ed. 
Low  &  Co..  1875.  21S. 

A  book  widely  known,  which  has  passed  through 
several  editions.  Has  not  been  in  any  way  superseded 
Compare  the  larger  work  by  Seguin  and  the  handbook 
by  Lefebure.  746 

Petrie,  W.  M.  Flinders. 

Egyttian  Decorative  Art.  Lond..  Methuen 
&  Co.     N.  Y.,  Putnam,  1895,  $1.50. 

There  are  a  number  of  tiooks  recently  published  in 
which  decorative  art  is  treated  scientifically.  They  at- 
tempt to  ascertain,  by  actual  examination  and  by  com- 
parison of  ascertained  facts,  the  origin  of  decorative 
ifeatures  and  details,  in  order  to  establish  a  scientific 
history  of  decorative  art.  These  books  are  not  named 
in  this  catalogue,  because  it  is  only  in  a  very  few  cases 
that  they  show  any  sense  of  artistic  appreciation.  In 
trying  to  explain  the  orig[in  of  art  they  ignore  the  ar- 
tistic purpose  of  the  designer;  and  this  because  the 
authors  have  known  nothing  of  ttie  way  in  which  the 
artistic  impulse  expresses  itself,  or  the  way  in  which  an 
artistic  thought  is  conveyed.  'The  book  under  consid- 
eration is  valuable  in  that  Mr.  Petrie  has  at  all  events  a 
large  and  intimate  acquaintance  with  the  finest  artistic 
productions  of  ancient  Egypt.  It  is  mentioned  there- 
fore as  a  favorable  example  of  books  of  its  class.     740 

Pollen,  John  Hungerford. 

Ancient  and  Modern  Furnttttre  and  Wood- 
work IN  THE  South  Kensington  Museum. 
Lond.,  Chapman  &  Hall,  1874,  2S.  6d. 

Very  valuable,  with  a  historical  introduction  of  240 

fages,  16  photographs,  and  20  wood-cuts  in  the  text. 
n  this,  as  in  the  other  South  Kensington  catalogues, 
the  notices  appended  to  the  different  titles  of  the  objects 
in  the  collection  are,  themselves,  of  historical  value. 

645 


r^ 


Ancient  and  Modern  Gold  and  Silver 
Smiths'  Work  in  the  South  Kensington 
]\IusEUM.  Lond.,  Chapman  &  Hall,  1878, 
2S.  6d. 

One  of  the  South  Kensington  catalogfues  with  his- 
torical and  critical  introduction.  The  introduction  of 
300  pages  is  a  valuable  treatise.  In  like  manner  the 
items  of  the  catalogue  have  excellent  descriptions  and 
explanatory  remarks  added.  Only  in  the  illustrations 
is  there  inferiority  to  the  other  volumes ;  there  are  no 
photographs  in  the  book,  only  a  number  of  wood-cuts 
and  a  dozen  etchings  made  by  students  in  the  etching 
class  at  the  South  Kensington  Art  School.  Compare 
thp  book  by  Foster  and  Atkinson. 

Prideauz,  A.  T. 

Historical  Sketch  OF  Bookbinding.  Lond., 
Lawrence  &  Bullen,  1893,  6s.  N.  Y., 
Scribner,  $2.40. 

Miss  Prideaux  is  a  practical  bookbinder :   one  of 
those  persons  who  in  England  have  devoted  themselves 


to  handwrought,  specially  designed  binding  in  the 
spirit  of  ancient  handicraft.  The  book  is  capable  of 
giving  a  close  and  very  intimate  sense  of  the  cssenti.il 
characteristics  ol  the  art  as  it  was  practised  in  the  past, 
when  It  was  a  decorative  art  us  important  as  most 
others. 

See  also  Part  II.  o(  Adolph  Growoll's  "Profession 
ol  Bookselling''  (N.  Y.,  ruhlishen'  Weekly.  1895,  $2). 
Pages  86-130  give  a  sketch  of  bookbinding,  historical 
and  practical,  with  full-page  illustrations  of  typical 
bindings,  and  a  bibliography.  686 

Prime,  Wilbam  S. 

PoiTERY    AND    PoRCEI  AIN  OF  All      TlMES  AND 

Nations.     N.  Y.,   Harper,   1S78,     Out  of 
print. 

Probably  the  most  convenient  for  reference,  and  the 
most  interesting  to  read,  of  all  the  books  which  attempt 
to  cover  the  whole  vast  field  of  ceramics.  738. 

Racinet,  A.  C.  A. 

Lk    CosiiME    HiSTORiQUE.      Paris,    Firmin- 
Didot  &  Cie.,  1888,  0  v..  240  fr. 

In  500  plates,  of  which  the  greater  number  are  in 
color,  costume  of  all  ages  and  nations  is  treated  and, 
together  with  dress,  many  of  the  surroundings  and  ac- 
cessories of  daily  life.  What  little  remains  in  Europe 
of  characteristic  costume  is  treated  as  fully  as  the  cos- 
tumes of  the  past  The  text  consists  chiefly  of  a  de- 
scription of  each  figure  and  of  some  account  of  (he 
sources  from  which  the  information  is  derived.  Not 
very  scientific,  but  is  a  great  store-house  of  trustworthy 
information.  300 

Rayet,  Olivier,  and  OoUignon,  Maxime. 

HisToiRK  i)E  LA  Ceramk^iue  Oreci.ue.     Paris, 
Georges  Decaux.  1SS8,  40  fr. 

An  admirable  book  for  obtaining  a  general  knowl- 
edge of  Greek  pottery  and  Greek  decoration  Manj, 
illustrations,  of  which  16  are  colored  plates,  738- 

Renan,  Ary. 

Le  Cos ruME  EN  France.     (B.E.B.A.)     Paris, 
Quantin,  5  fr. 

A  valuable  handbook  with  173  illustrations,  bringing 
the  history  of  costume  down  to  the  beginning  of  the 
Revolution.  300 

Riaiio,  Juan  F. 

The   Industrial   Arts   ok   Spain.      Lond., 
Chapman  iS:  Hall,  1879,  4s. 

One  of  the  South  Kensington  handbooks,  a  small 
volume  of  276  pages,  illustrated  by  a  number  of  wood- 
Not  very  critical  but  contains  a  great  deal  of 


cuts, 

classified  information. 


609 


Robinson,  Bdward. 

Catalogue  OK  Greek,  Etruscan,  and  Roman 
Vases  in  the  .Museum  ok  P'ine  Aris,  Bos- 
ton. Bost.,  Museum  of  Fine  Arts,  1893, 
65  c. 

The  collection  of  vases  in  the    Boston    Museum,, 
though  small    is  very  good  and  characteristic.     Mr 
Robinson,  who  is  the  Curator  of  Greek  Ant-quities,  is 
a  safe  guide  to  their  study.  738 

Rock,  Very  Rev.  Daniel. 
Textile  Fahrics,   Collection  of   Church 

V^ESTMENTS,  DRESSES,  SILKStUKFS,  NEEDLE- 
WORK AND  Tapestries,  Section  of  South 
Kensington  Mt:sEUM.  Lond.,  Chapman 
iS:  Hall,  1870,  2s.  6d. 

One  of  the  large  South  Kensington  catalogues; 
written  by  a  student  and  collector  of  extensive  knowl- 
edge. The  historical  and  critical  introduction  occupies 
160  pages  and  the  catalogue  itself  contains  many  de- 
scriptive notes.  There  are  excellent  full-page  illustra- 
tions giving  colored  patterns  from  stuffs  and  embroid- 
eries, 247 

Rouaix,  Paul. 
DicTio.NNAiRE  DES  Arts  D£coratifs.     Paris. 


Minor  Decoratti'c  Arts. 


55 


iinK  in  the 
\  capable  of 
the  essential 
I  in  the  past, 
ant  as  most 

"  Profession 
/>,  1895,  $3). 
1;,  historical 
s  ol  typical 
686 


IlMKS  AM> 
Out   of 

!nce,  and  the 
hich  attempt 
738 


Firmin- 

imber  are  in 
treated  and,. 
'in|{S  and  ac- 
IS  In  Europe 
ly  as  the  cos- 
lefly  of  a  de- 
count  of  the 
erived.  Not 
\  trustworthy 
390 

ime. 

IK.     Paris, 

ncral  knowl- 
ition  Man\ 
s.  738 


A.)     Paris, 


tins,  brineinjf 

inning  oflhe 

300 


Lond. 


lolcs,  a  small 
ber  of  wood- 
great  deal  of 
609 


kND  ROMAN' 
ArIS,  HoS' 

Arts,   iS(j3, 


in    Museum,, 
teristic.     Mr 
Vnt'quities,  is 
738 


Librairie   lUtistrtt,   MontRredien,    18S5,   24 
fr. 

This  very  inexpensive  book  seems  not  to  be  much  in 
use  out  o(  Krance.  It  will  be  lound  extremely  useful 
and  capable  of  giving  information  even  at  some  length 
under  many  separate  headings.     No  such  work,  as  yet 

Kublished,  cvenap|iroachescompleteness,  and  one  book 
as  to  be  used  to  supply  what  is  lacking  to  another, 
both  as  to  terms  dehned  and  as  to  the  information 
given  under  each.  740 

Rudler,  P.  W. 

Article  Ena.mki,,  Encyclop.xdia  Hritannica,  Qth 
ed, 
A  very  full  paper,  and  valuable. 

Saward,  B.  O.,  und  Oaulfeild,  S.  T.  A. 

Dictionary  oi-  Neeulewokk.     See  Caulfeild. 

Scott,  WiUiam  Bell. 

Hai.k-Hoir  Lechres  on  the  History  and 
Praciice  Ol-  riiE  Fine  and  Ornamental 
Arts.  Lend.,  Longmans,  1874.  Out  of 
print. 

In  this  little  handbook  Mr.  Scott  has  used  his  sympa- 
thetic appreciation  of  the  decorative  arts  to  give  an 
account  of  the  arts  of  the  earlier  and  later  Middle 
Ages.  This  narrative  passes  into  an  account  of  the 
earlier  schools  of  modern  painting  and  so  into  general 
considerations  concerning  designing  There  are  nine- 
teen lectures  contained  in  the  volume,  and  this  would 
account  for  its  disconnected  character.  It  consists,  in 
fact,  of  the  somewhat  unfinished  and  unelabnrated 
notes  (if  an  artist  who,  while  thoroughly  familiar  with 
the  essential  facts,  had  never  mudc  a  study  of  minor 
details.  707 

Segiiin,  Joseph. 

Le  Dentei.i.e,  Histoire,  Description,  Fa- 
HRICATION,  HiHi.iouRAi'iiiE.  Paris,  Roths- 
child, 1875,  i(x)  fr. 

Fifty  photographic  platesof  fine  specimens  of  ancient 
lace  are  accompanied  by  100  pages  of  text  which,  with- 
out being  a  final  or  exhaustive  nistory  ol  the  subject, 
is  yet  of  great  value.  This  book  should  be  used  in  con- 
nection with  Mrs.  Palliser's.  746 

Steele,  Frances  Mary,  unU  Adams,  Elizabeth 
Livingston  Steele. 

Heai'ty  oi.-  Form  and  Grace  ok  Vestire. 
N.  Y.,  Dodd.  Mead  &  Co.,  1892,  $1.75. 

A  valuable  and  suggestive  protest  against  absurdi- 
ties in  modern  dress;  also  extremely  suggestive  to  the 
student  of  figure  painting  when  associated  with  cos- 
tume In  this  latter  direction  the  book  may  be  used  as 
IS  indicated  in  the  notes  on  Brlickc  and  Hatton,  Part 
II  The  illustrations  in  this  book  are  far  less  artistic 
than  those  in  the  books  named  abuve,  but  they  serve  a 
good  purpose.  390 

Sturgis,  Russell. 

Articles,     Johnson's    Universal    Cyclopaedia, 

Edition  18(^3-5  : 

"Costume,"  "Decorative  Art,"  "Embroidery," 
"Enamel,"  "Furniture,"  "Glass  in  Artistic  Design," 


"  Lacquer,"  "  Metal  Work,"  "  Porcelain,"  "  Pottery," 
"Tapestry,"  "Textile  Fabrics,"  and  many  shorter 
articles. 

Transactions  of  the  National  Association  for 
the  Advancement  of  Art  and  its  Applica- 
tion to  Industry. 

LlVKRi'ooi.MEETlNii,  1888.  Lon(l.,i88S.  Out 
of  print. 

There  are  many  volumes  which  have  resulted  from 
meetings  of  artistic  associations,  If  this  one  is  selected 
for  mention  it  is  because  the  Society  :n  question  repre- 
sents a  great  deal  of  conscious  purpose  in  the  way  of 
spreading  among  the  people,  botii  the  practice  and  the 
api)reciation  of  fine  art,  and  also  because  the  speakers 
and  readers  of  papers  were  generally  men  very  much 
in  earnest  and  men  of  practical  experience.  Thus  the 
paper  byW.  Holman  Hunt  on  ".\rt  Education  "  and 
that  by  Reginald  Hallward  on  the  "  Emancipation  of 
the  Picture,"  in  which  he  attacks  the  Koyal  Academy, 
represent  a  somewhat  unconventional  and  even  revolu- 
tionary view  of  teaching  art  practically.  Thus,  a'so, 
the  alliance  of  sculpture  and  other  tine  arts  to  building, 
which  is  an  important  part  of  the  combined  art  whicTi 
we  call  architecture,  is  treated  by  three  artists  and  ex- 
perts—George Simonds,  J.  Belcher,  and  VV.  A.  S. 
Benson.  There  are,  perhaps,  40  papers  in  this  volume, 
and  many  of  them  are  of  great  suggestive  value.  A 
paper  read  at  a  meeting  is  seldom  exhaustive,  but  it  is 
apt  to  contain  hints  which  arc  not  so  naturally  found 
in  larger  works.  605' 

Viollet-le-Duc,  E.  E. 

DicnoNNAiRE  Raisonne  di'  Mohii.ier  Fran- 
(,Ais  DE  i.'£i'0(ji;e  Cari.oviniuenne  a  i.a 
Renaissance.  Paris,  A.  Morel  i.V  Cie., 
1S75.  300  fr. 

This  work  is  several  dictionaries  in  one.  The  first 
volume  IS  devoted  to  furniture,  with  as  an  appendix 
some  very  interesting  essays  on  the  method  of  con- 
struction in  the  Middle  Ages.  The  second  volume 
deals  with  utensils  in  one  alphabet,  then  with  gold- 
smith's work,  then  with  musical  instruments,  and  then 
with  sports  and  pastimes,  including  hunting  and  the 
tournament,  and  gives  finally  a  few  pages  to  tools  of 
the  carpenter,  blacksmith,  etc.— a  very  curious  ency- 
clopaedia of  life  in  the  Middle  Ages.  The  third  and 
fourth  volumes  are  devoted  to  dress,  the  fifth  and  sixth 
to  armor  and  weapons.  The  text  is  throughout  of  the 
most  suggestive  cnaracter,  and  generally  trustworthy  ; 
the  illustrations  have  that  extraordinary  value  which 
has  been  spoken  of  under  the  same  author's  "  Diction- 
ary of  Architecture."  603 

Walker,  Louisa. 

Varied  Occitpations  in  .Strinc.work,  Com- 
pRisiN(;  Knotting  etc.  N.  Y.,  Macmillan, 
i8()f),  $1.25. 

An  artistic  book  of  its  kind;  gives  directions  for 
very  pretty  and  varied  work  in  netting,  fringing,  etc. 

746 

Worsaae,  J.  J.  A. 

Indi:strial  Arts  OK  Denmark.  Lond.,  Chap- 
man &  Hall,  1882,  3s.  6d. 

One  of  the  South  Kensington  Museum  handbooks, 
by  a  very  competent  writer.  Deals  with  the  art  cf  the 
earliest  ages  only.  Many  illustrations  and  a  map  of 
the  kingdom  of  Denmark  as  it  was  down  to  1660,  at 
which  period  its  boundaries  were  much  reduced.    600- 


K    ClIVRrn 

s,  Needi.k- 

oK  Sorin 

Chapman 

catalogues ; 
nsive  knowl- 
tion  occupies 
ins  many  de- 
page  illustra- 
md  embroid- 
247 


Ks,     Paris, 


MUSIC. 


1 


A  SELECTION  FROM  ITS  LITERATURK,  WITH  NOTES,  BY 
HENRY   EDWARD   KREHRIEL, 

Musical  Kiiiior  Xen<  York   Trihunc.     Author  of  ^^  Studies  in  the  Wagnerian  Jiraira, 
"  Jii>7v  to  Listen  to  Music,"  etc. 


PART         I.     Generai,  Histories 55 

PART        11.  Special  Histories  (ok  instruments,  mirms,  kh'ntkies,  notation,  periods,  (iKiiAsizATioNS,  btc.)  56 

PART      111.    Ancient  and  Medi.hvai,  Mi'sic 60 

PART      IV.     FoLK-SoNo  and  National  Mfsic 61 

PART        V.     BiocRAFHV 63 

PART      VI.    Wauneriana C/ 

PART     V'll.  Science  and  ^I^sthetics  (incliding  treatises  on  the  elements  oi-  misic  and  a  i-kw  lkadin(1 

TEXT-IIOOKS) ^9 

PART  Vni.    Criticism  and  Analysis 7° 

PART      IX.     Encyclop/Edias  and  Dictionaries 73 

PART        X.     MisiCAL  Jolrnai.s 73 

PART      XI.  List  or  Second-Hand  Dealers  who  issl'e  catalogues  devoted  to  misical  literatire.   .     .  74 


PREFATORY    NOTE. 


In  preparing  this  list  it  was  my  aim  prac- 
tically to  cover  the  entire  field  of  books  on 
music  which  are  obtainable  and  are,  in  my 
opinion,  the  best  of  their  kind.  Tiie  list  is 
neither  as  full  nor  as  radical  as  it  might  have 
been  made,  for  it  was  deemed  necessary  to 
yield  a  point  occasionally  out  of  consideration 
for  some  who  are  likely  to  consult  it  with  other 
purposes  than  serious  study. 

A  large  proportion  of  the  most  valuable  books 
on  music  in  existence  are  in  German.  Many 
of  them  were  published  in  the  first  half  of  the 
present  century,  which  was  peculiarly  rich  in 
scientific  and  painstaking  investigators,  such 
as  Kiesewetter,  Hellermann,  Westphal,  Forkel, 
and,  later,  Ambros  and  Paul.  The  books  of 
these  men  laid  the  foundation  for  nearly  all  the 
general  and  special  study  which  has  been  pur- 
sued since  in  the  science  and  art  of  music. 
But  they  were  not  books  for  the  many,  and  in 
consequence  have  not  remained  in  print.  Where 
it  was  possible  to  replace  an  old  work  written 
in  German  or  French  with  a  more  modern  book, 
or  a  trustworthy  one  in  English,  I  have  done  so, 
but  I  have  valued  the  classics  too  highly  to  omit 
them  simply  because  to  buy  or  consult  them 
might  be  attended  with  some  inconvenience. 
McH-eover,  whenever  it  has  been  possible  I  have 
consorted  with  a  rare,  expensive,  or  voluminous 
work  one  of  more  modest  dimensions  and  scope. 
I  have  also  givtn  preference  to  American  re- 
prints, for  practical  reasons,  though  often  re- 
gretfully. 

In  spite  of  the  age  and  comparative  rarity  of 
the  books  which  are  designated  as  out  of  print 


by  the  mark  "O.P.,"  it  is  possible  to  find  near- 
ly all  of  them  in  the  course  of  time  by  watching 
the  catalogues  of  the  second-hand  book-dealers, 
those  of  Leipsic  especially.  These  "Antiqua- 
rian" dealers  obtain  possession  of  fine  collec- 
tions every  year,  and  there  is  scarcely  a  biblio- 
graphical treasure  which  a  collect(jr  need  be 
without  so  he  be  diligent  in  search,  patient  in 
waiting,  and  willing  to  jiay  the  price — which  is 
seldom  extravagant.  The  dealers  whose  ad- 
dresses are  appended  to  this  list  will  always 
furnish  their  special  catalogues  on  application. 

The  special  lists  of  writip'.s  devoted  to  F(jlk- 
Song,  National  Music  and  Wagner's  Art  are 
thought  to  be  justified  by  the  great  interest 
displayed  in  these  subjects  lately  by  writers  and 
literary  and  musical  clubs.  The  very  many 
applications  for  help  in  this  department  which 
I  have  received  from  all  parts  of  the  United 
States  are  proof  of  the  extent  and  sincerity  of 
this  interest. 

In  the  case  of  a  few  works  of  particular  rarity 
I  have  indicated  where  they  may  be  consulted 
in  New  York.  In  the  Lenox  and  Astor  libra- 
ries are  large  and  exceedingly  valuable  depart- 
ments of  musical  works.  That  in  the  former 
consists  of  the  collection  made  and  bequeathed 
by  the  late  Joseph  W.  Drexel.  A  check  list  of 
the  collection  shows  5542  titles  of  bound  vol- 
umes and  766  pamphlets.  The  real  value  of 
the  Drexel  collection  is  not  disclosed  by  either 
the  check  list  which  Mr.  Drexel  published  in 
1S69  or  the  augmented  list  printed  for  the  li- 
brary of  which  the  earlier  list  was  the  founda- 
tion.    Both    are   incomplete  as  well  as  faulty, 


Music  :  Genital  History. 


55 


55 

S6 
to 
6i 

£/ 


and  the  former  was  made  before  some  (jf  the 
must  interesting  features  of  the  collection  were 
adtled.  An  intelli^;cntly  annotated  catalogue  of 
these  hooks  is  a  ^xtiM  desideratum.  It  is  the 
intention  of  the  authorities  to  catalogue  all  the 
works  comprehensively.  An  attractive  jKjrtion 
of  this  collection  lies  in  the  manuscripts  of  the 
late  Dr.  Edward  F.  Rimbault,  purchased  by  Mr. 
Drexel  in  1S77.  These  include  many  note-books 
and  copies  of  (jld  manuscripts  made  by  Dr.  Rim- 
bault in  the  course  of  his  historical  investiga- 
tions. 

The  Astor  Library  has  a  reasonably  full  work- 
ing collection,  well  up  to  date,  of  books  on  mu- 

Xc'o    York,  JiiiiUdrv,   1897. 


sical  history,  theory,  and  biography.  The 
works  of  the  later  Oerman  and  Helgian  investi- 
gators are  well  represented.  There  are  also  to 
be  found  the  interesting  pul)lications  of  texts 
and  scores  by  the  Plain  .Song  and  Madrigal 
.Society  of  Londcjn,  as  well  as  the  issues 
of  the  Dutch,  Swedish,  and  (ierman  Antitpia- 
rian  Societies.  The  collection  is  also  rich  in 
scores. 

The  Musical  Department  of  the  Newberry  I,i- 

'  brary,    Chicago,    has    full   scores   of  the   great 

composers,  and  the  more  important  historical 

and  critical  works  in  English,  French,  German, 

and  Italian.  11.  E.   K. 


69 
70 
73 
73 

74 


PART    I. 


GENERAL  HISTORY. 


Ambros,  August  Wilhelm. 

GKSCIIICIirE  PER  Ml  SIK.  MiT  ZAHI.RF.ICIIEN 
NoTKNHEISI'IEI.EN       INI)        MlSlKHEII.AGKN. 

Dritte  AuHage.     Leipsic,  F.  E.  C.  Leuckart, 
1892,  5  vols.,  63  marks. 

In  every  respect  the  most  thorough  and  scholarly 
history  of  music  yet  written.  Unfortunately  the 
author  died  while  giving  the  finishing  touches  to  the 
fourth  volume,  which  brings  the  story  of  musical  de- 
velopment down  to  the  culmination  of  the  a  cafiella 
style  in  Palestrina.  The  revision  of  the  manuscript 
of  the  last  volume  was  accomplished  byG.  Nottebohm. 
In  the  third  edition  the  first  volume,  devoted  to  the 
music  of  ancient  Greece  and  the  Orient,  has  been  en- 
tirely rewritten  by  B.  von  Sokolowsky  to  make  it  con- 
form with  the  more  recent  discoveries  and  theories  of 
Rudolph  Westphal  and  F.  A.  Gevaert  in  this  depart- 
ment. The  second  volume  was  revised  by  Heinrich 
Rcimann,  the  third  by  Otto  Kade.  A  necessary  com- 
panion to  the  first  edition  is  the  index  (AV»;«t'«  und 
Sachregisier'),  prepared    by  Wilhelm   RUumker,  and 

Fublish'ed  as  a  separate  volume  by  Leuckart  in  1882. 
n  the  third  edition  each  volume  has  its  own  index. 

780.0 

Brendel,  Franz. 

OESCIIICIITE  PER  MrSIK  IN  ITAUEN,  DEt'TSCH- 
I.AM)  UNI)  FraNKREICH,  VON  DEN  ERSTEN 
ClIRISTICIIEN    ZeITEN     HIS    AlF    DIE   GeGEN- 

WART.    FUnfundzwanzig  V^orlesungen.    7th 

ed.     Leipsic,   Heinrich  Matthes,   1S89,  636 

p.,  $3-(>0' 

All  Brendel's  writings  are  permeated  with  the  pro- 
gressive spirit  which  made  him  one  of  the  most  effec- 
tive champions  of  the  neo-Germanit  school  which  cul- 
minated in  Wagner  and  Liszt.  Nevertheless  he  stops 
short  of  being  an  extremist  in  his  historical  writings. 
His  lectures  are  invigorating.  780.0 

Bumey,  Charles. 

A  General  History  oi'  Mt'sic,  from  the 
Earliest  Ages  to  the  Present  Period.  Lend., 
printed  for  the  author  at.d  sold  by  Payne 
&  Son,  at  the  News-Gate;  Robson  &  Clark, 
Bond-Street ;  and  G.  G.  J.  &  J,  Robinson, 
Paternoster  Row,  1776-1789,  4  vols.  O.P. 
See  note  under  Hawkins.  780.0 

Dickinson,  Edward. 

Guide  to  the  Study  of  Musical  History 
AND  Criticism.     Oberlin,  O.,  Edward  Dick- 
inson, 95  p.,  75  c. 
The  author  is  professor  of  musical  history  at  OI>erlin 


College,  and  his  book,  which  beginners  in  the  study  will 
find  helpful,  is  in  the  form  of  syllabuses  for  lectures 
and  references  to  authorities.  780.0 

Forkel,  Jobann  Nicolaus. 

Al.LCEMEINE  GESCIIICIirE    DER    MusiK.     Leip- 

sic,   1788-1801,  2  vols.,  xxxvi,    504,    xviii, 

776  p.     O.P. 

The  first  of  the  larger  histories  undertaken  in  Ger- 
many. Though  fie  had  Hawkins  and  Bumey  as  pre- 
decessors and  sources,  Forkel  developed  his  work  on 
independent  lines,  at  least  so  far  as  the  manner  of  pres- 
entation is  concerned.  The  book  is  incomplete,  carry- 
ing the  story  of  music  only  down  to  the  middle  of  the 
XVI.  centurv.  Though  out  of  print  the  history  is  fre- 
quently hstcd  in  second-hand  catalogues.  780.9 

Hawkins,  .SV;-  John. 

A  General  Hisiokv  of  the  Science  and 

Practice  (IF  Mi'sic.    N.  Y.,  Novello,  Ewer 

&  Co.,  8   vols.,    xxxvi,  486,  493  p.,  $8.40. 

A  third  vol.,  63  p.  of  portraits,  may  be  had 

separately,  $6.40. 

This  work  was  originally  published  in  1776  The 
present  edition,  1875,  is  the  second  reprint  by  ttte  No- 
vellos,  the  first  having  been  issued  in  1853.  ''  contains 
a  bfographical  sketch  of  the  author  and  his  posthumous 
notes.  Vol.  III.  is  devoted  to  ropper-plate  portraits. 
Hawkins's  History  suffered  somewhat  unjustly  at  the 
outset  by  comparison  with  Burney's,  the  first  volume 
of  which  was  issued  in  the  same  year  that  paw  the  ap- 
pearance of  Hawkins's.  For  this  Burney's  greater 
reputation  as  a  musician  and  the  livelier  literary  style 
which  he  commanded  were  responsible.  Latterly  there 
has  been  manifest  a  disposition  to  reverse  the  early 
judgment,  the  fact  being  recognized  that  Hawkins 
was  the  more  painstaking  investigator  of  the  two. 
Both  histories  are  antiquated,  but  are  nevertheless  val- 
uable to  the  student  because  of  their  voluminous 
illustrations.  780.0 

Henderson,  W.  J. 

The   Story  of  Music.     N.   Y.,   Longmans. 

212  p.,  $1. 

In  no  respect  a  conventional  history,  but  a  series  of 
pleasantly  w  ritten  and  suggestive  essays  on  some  of 
the  phases  through  which  music  has  passed  from  the 
ordination  of  its  elements  till  to-day.  780.4 

Hunt,  H.  O.  Bonavia. 

Concise  History  of  Music  from  the  Com- 
mencement OF  the  Christian  Era  to  the 
Present  Time.    N.  Y.,  Macmillan,  184  p., 

90  c. 

Designed  for  the  use  of  schools,  and  to  that  end  pro- 


W.  t 


5^> 


Ml/sic :  Special  Histories. 


fS  : 


I  I 


Tided  with  a  list  nf  examination  questions.  Section  I, 
chiefly  u chrnnoloeical  and  bio){raphicul record;  Section 
II.  a  series  of  tables  of  musicians  and  musical  events; 
Section  III,  a  summary  in  which  the  xrowth  of  the 
art  is  traced.  An  excellent  book  for  systematic  study, 
und  also  helpful  fur  quick  reference.  780.9 

K:e.sewetter,  R.  O. 

jCiESCHIClUK      DKR      EiTRorAisrHAnENm.ANn- 

ISCIIKN  ODKR  INSKRF.R  IIKI  IKIEN  MlSIK;  Uar- 

stelluriK    ihres    Ursprungs,    ihres    Wachs- 
thumt'sundihrcrstufenwciscnEntvyickelung 
von  dcm  erstcn  Jahrhundert  dcs  Christen- 
thums  bis  auf  unsere  Zeit.     2d  cd.     Leipsic 
and  N.  Y.,  Hreitkopf  &  Hartel,  1S46.     O.P. 
This  history,  whose  author  was  one  of  the  most  In- 
<1ustrtous  investiKators  that  ever  lived  and  the  uncle  of 
the  historian  Ambros  (see  above),  is  admirable  in  its  con- 
ciseness and  lucidity.     It  is  still  included  in  the  cata- 
logue of  the  publishers,  but  is  out  of  print,  and  can  only 
be  bought  at  second-hand     It  was  published  in  an  Eng- 
lish translation  as  "A   History  of  Modern  Music  in 
Western  Europe "  in  1848,  but  this  has  disappeared, 
though  there  is  a  copy  in  the  Drexel  Collection  in  the 
Lenox  Library,  New  York.  780.9 

Ijang^ans,  W. 

The  History  of  Music  iv  Twelve  Lect- 
ures. Transl.  from  the  German  by  J.  H. 
Cornell.  New  and  enlarged  edition.  N. 
Y.,  Schirmer,$l.5o. 

A  good  translation  of  the  lectures  delivered  by  Dr. 
Langnans  in  the  Neue  Akademie  tier  Tonkunst,  at 
Berlin.  The  author  belongs  to  the  new  romantic 
school,  and  devotes  nis  last  lecture  to  Wagner ;  it  is 
biographical  and  expository  rather  than  critical.  The 
preceding  chapters  are  not  overburdened  with  biograph- 
ical detail,  ^nd  trace  the  devebpment  of  music  through 
its  principal  phases  in  an  interesting  and  instructive 
manner.  780.9 

XAacfarren,  O.  A. 

MrsicAi,  History  Briefly  Narrateh  and 
Technically  Discussed,  with  a  roll  of  the 
names  of  musicians  and  the  times  and 
places  of  their  births  and  deaths.  Lond., 
A.  &  C.  Black.  N.  Y.,  Macmillan,  220  p., 
$i.75. 

A  reprint,  with  amplifications,  of  the  article  "  Music," 
in  the  9th  edition  of  the  Encyclopaedia  Rritannica.  A 
model  of  encyclopedic  writing  in  clearness,  terseness, 
and  Comprehensiveness.     Touching  the  questions  of 


modern  musical  polemics  the  author'a  attitude  is  ex- 
tremely conservative.  His  Roll  of  Names  i»  defective 
from  an  American  point  of  view.  780.9 

Naumann,  Emil. 

The  History  of  Music.  Transl.  by  F.  Prae- 
ger,  edited  by  the  Rev.  .Sir  F.  A.  Gore 
Ouseley,  Bart.,  Mus.  Doc.  Professor  of 
Music  in  the  University  of  Oxford.  With 
numerous  illustrations.  N.  Y.,  Cassell  & 
Co.,  2  vols.,  xii,  758,  574  p.,  $10. 

Chiefly  valuable  for  its  illustrations.  I'rofessor  Ouse- 
ley added  chapters  to  cover  the  history  of  music  m 
England  more  fi.lly  than  was  done  by  the  author. 
Naumann  must  I  read  with  caution.  He  was  not  an 
original  investig.>tor.  780.9 

Reissmann,  August. 

Allcemkine  Gesciiichte  der  Mustk.  Mit 
Zahlreichen,  in  den  Text  gedruckten  Noten- 
beispielen  und  Zeichnungen,  s<jwie  5<j  voll- 
stSndigen  TonstUckeii.  Munich,  Friedrich 
Brtickmann,  1863-1864,  3  vols.,  343,  428, 
437  p.     O.P. 

Reissmann  is  more  a  compiler  than  an  original 
investigator,  but  there  is  real  merit  in  his  arrangement 
of  the  material  of  musical  history.  He  strives  to  dis- 
close the  evolution  of  music  as  superinduced  by  intel- 
lectual and  social  development  instead  of  adhering 
blindly  to  a  chronological  scheme.  Thus  in  Vol.  I.  he 
treats  first  of  pre-Christian  music,  taking  up  the 
Chinese,  Hindus,  Egyptians,  Hebrews,  and  Greeks, 
but  omitting  peoples  whose  music  never  influenced  the 
Occidental  art;  next  he  shows  music  under  the  influence 
of  Christianity  (Gregorian  Chant,  first  efforts  in  poly- 
phony, the  Netherland,  Venetian  and  Roman  Schools). 
in  Vol.  II.  he  shows  how  the  folk-spirit  conditioned 
the  further  development  of  the  art;  the  field  covered 
being  folk-song,  the  chorale,  artistic  song,  the  first 
attempts  at  dramatic  composition,  and  the  beginnings 
of  instrumental  music.  Vol.  III.  discusses  modern 
music  as  the  outcome  of  individual  taste  on  the  part  of 
the  composer.  780.9 

Rockstro,  W..  S. 

General  History  of  Music  from  the  In- 

KANCY     of     TI.IE     GrEEK     DrAMA    TO     THE 

Present    Period.     New    edition.     Lond,, 
Sampson  Low.     N.  Y.,  Scribner,  $5.60. 

Correct  and  comprehensive,  but  not  always  well 
balanced.  It  includes  Wagner's  work,  but  the  chapter 
devoted  to  the  poel-composer  smacks  of  polemics  rather 
than  history.  780.9 


PART    II. 


SPECIAL    HLSTORIES. 


Arteaga,  Stefano. 

Le  RivoLuzioNi  DEL  Teatro  Musicale  Itali- 
ANO,  dalla  sua  Origine  Fino  al  Presente. 
2d  ed.  Venice,  Carlo  Palese,  3  vols., 
xlii,  361 ;  334,  394.     O.P. 

The  first  edition  of  this  famous  history  of  the  Italian 
Opera  was  published  in  1/83.  It  was  thoroughly  re- 
vised for  the  second  edition  two  years  later,  and  this 
edition  was  the  foundation  of  a  translation  into  Ger- 
man made  by  Forkel  in  1789  Arteaga  was  a  Spanish 
Jesuit,  who  on  the  suppression  of  his  order  went  to 
Italy  and  made  a  friend  of  Padre  Martini,  who  per- 
suaded him  to  write  this  book.  The  Italian  original 
and  Forkel's  translation  are  occasionally  found  in  sec- 
ond-hand catalogues.  780.945 

Bitter,  O.  H. 

BeitrAge  zur  Gesciiichte  des  Oratoriums. 
Berlin,  R.  Oppenheim,  1872,  503  p.  and  48 
p.  of  musical  examples,  $3.50. 
*■  Helpful  in  the  study  of  Bach,  Handel,  Graun,  and 


Mendelssohn,  someof  whose  oratoriosare  interestingly 
described.  7833 

Brooks,  Henry  M. 

Olden  Time  Music.  A  Compilation  from 
Newspapers  and  Books,  with  an  Introduc- 
tion by  Prof.  Edward  .S.  Morse.  Bost., 
Ticknor,  188S,  2S3  p.,  $1.50. 

Extremely  valuable,  in  its  hints,  to  an  investigator  in 
the  early  history  of  music  in  New  England.    780.074 

Bumey,  Oharles. 

The  Present  State  of  Music  in  France  and 
Italy;  or.  The  Journal  of  a  Tour  Through 
those  Countries,  undertaken  to  Collect  Ma- 
terials for  a  General  History  of  Music. 
Lond.,  1771J  418  p.     O.P. 

The  Present  State  of  Music  in  Germany, 
the  Netherlands  AND  United  Provinces, 


Music :  Special  Histories. 


or,  The  Journal  of  a  Tour  ThrouRh  those 
Coufitries,  undertaken  to  Collect  Materials 
for  a  Cieneral  History  of  Music.  Lund., 
1772,  2  vols.,  380,  352  p.     O.P. 

These  charmin((  books,  though  out  of  print,  are  still 
to  he  had  occasionally  by  purchase  at  second-hand,  not 
only  in  the  oriKinal  English  but  also  in  I'Vench  and 
<ierman  translations. 

"  Never  was  a  search  forunsophlstirated  intelltvrence 
prosecuted  with  more  diligence  and  en'.T^y  than  that  of 
this  musical  historian.  He  was  in  possession  of  a  maif  ical 
sesame  in  the  shape  of  letters  from  a  pr>werful  friend 
in  the  British  nobility,  and  all  doors  swung  open  at  his 
approach.  He  visited  the  libraries  and  examined  their 
treasures;  conversed  with  almost  every  then  living  musi- 
cian of  eminence;  visited  the  theatres  like  the  most  in- 
^-eterate  and  confirmed  of  pleasure-seekers:  worshipped 
in  the  cathedrals  like  the  most  devout  of  Catholics,  at- 
tended services  in  the  churches  like  the  most  pious 
Lutheran,  and  went  up  into  synagogues  like  a  Jew  in 
whom  there  was  no  guile.  He  did  not  always  note  the 
words  of  the  preacher's  text,  but  he  seldom  omitted  a 
memorandum  on  the  tone  and  compass  of  the  organ 
and  the  taste  and  skill  of  the  organist.  The  rccora  of 
his  tour,  when  written  out  and  printed,  filled  three  vol- 
timcs  which,  by  Dr.  Johnson's  own  confession,  became 
the  model  of  the  latter's' Tour  to  the  Hebrides.'  The 
volumes  pictured  the  then  state  of  music  in  the  coun- 
tries visited,  and  they  have  remained  till  to-day  the 
delight  of  musical  students,  as  much  for  the  honest  and 
straightforward  style  of  the  recital  as  for  the  vast  num- 
ber of  significant  and  suggestive  facts  which  are  mar- 
shalled in  their  pages."— Krbhbiel,  ",Vi;<«^«  the  Cul- 
tivation 0/ Choral  Music"  780.040 

Celler,  Ludovico. 

Lks  Ori(;ines  i)K  L'OrfeRA  et  Lk  Bm.i.et  de 
l.A  Reine(I58i).  I'^tude  sur  les  Danses,  la 
Musique,  les  Orchestres  et  la  Miseen  scfene 
au  XVI*-'  siecle,  avec  un  aper^u  des  pro- 
grfes  du  Drame  lyrique  depuis  le  XIII" 
siecle  jusqu'a  Lully.  Paris,  Didier  &  Cie., 
l8f)8,  364  p.,  fr.  3.50. 

Contains  instructive  notes  on  the  dances  of  the  XVI 
century,  which  entered  largely  into  operas  and  suites, 
and  a  valuable  study  of   Haltazanni  (or  Baltagerini, 
uf (erwards  called  M .  de  Beaupoyeulx)  and  his  Ballet 
comique  dc  la  royne.  782 

Crowest,  Frederick  J. 

The  Story  ok  BRinsir  Mi'Sir,  from  the  Earli- 
est Times  to  the  Tudor    Period.      N.   Y., 

Scribner,  1S96,  306  p.,  $3.50. 

Evinces  no  profundity  of  insight  or  extensive  re- 
search but  serves  a  purpose  in  helping  reierence  to 
special  details.  780.042 

Edwards,  C.  A. 

Ori-.a.ns  and  Orp.av  BfiT.mNr.  •  A  Treatise  on 
the  History  and  Construction  of  the  Organ 
from  its  Origin  to  the  Present  Day,  with 
Important  Specifications.  lUus.  Lund., 
"The  Bazaar"  Office,  iSSi,  248  p.,  5s. 

786.5 

Edwards,  H.'Sutherland. 

TiiK  Prima  Donna,  Her  History  and  Sur- 
roundings from  the  XVM.  to  the  XIX.  cen- 
tury. Lond.,  Remington  &  Co.,  1S8S,  2 
vols.,  320,  302  p..  24s. 

A  series  of  gossipy  sketches  more  entertaining  than 
critical.  782 

Engel,  Carl. 

Mf.sicAi.  iNSTRfMENTS.  With  numerous 
wood-cuts.  Lund.,  Chapman  iS:  Hall.  N. 
Y,,  Scribner,  12S  p..  $1. 

No.  s  of  the  South  Kensington  Museum  Handbooks. 
A  helpful  little  work  in  the  study  ol  ancient  and  med- 
iaeval instruments.  787 

Fillmore,  John  Oomfott. 

PiANoi'-oRTE  Mi'sic,  its  History,  with  Bio- 
Rraphical  Sketches  and  Critical  Estimates 


of  its   fireatest  Masters.      Phila.,  Theodore 
Presser,  245  p.,  I).  I1.50. 

Unnecessarily  extended  in  its  biographical  depart- 
ment, but  valuable,  especially  to  the  younger  piano 
forte  students,  in  its  exiiosition  of  the  growth  of  the 
mechanics  of  pianoforte  playing.  786.1 

Fink,  Gottfried  Wilhelm. 

WeSKN  INI)  (iESClllCIITE  DER  Ol'ER.       Leipsic, 

(leorg  Wigand,  1H38,  335  p.     O.P. 

Useful  because  of  the  paucity  of  books  treating 
specifically  of  the  history  of  opera.  It  ends  with  the 
period  of  Rossini,  782.1 

Qalilei,  Vincenzo. 

DlAI.Olio      DKl.l.A      Ml'SIfA     AnTKA     K.      I>E1.1A 

MoDERNK.     Florence,   15S1.     O.P. 

Extreii.ely  valuable  and  therefore  included  here, 
though  rare  even  in  the  second-hand  shops  of  (ler- 
■many.  The  author  was  the  father  of  the  great  astrono- 
mer Galileo  Galilei,  and  one  of  the  Klorentinc  coterie 
that  introduced  tbemimodic  style  of  music.  His  book 
is  a  polemic  in  the  controversy  between  the  reformers 
and  the  contrapuntists.  It  is  also  interesting  as  pub- 
lishing for  the  first  time  the  three  ancient  Greek  hymns 
of  Dionysius  and  Mesomedes.  (See  Bellermann.)  A 
copy  IS  in  the  Drexel  collection,  Leno.x  Library,  New 
York.  780 

Hanslick,  Eduard. 

Geschichte  dks  Contertwesens  in  Wien. 
Vienna,  1869,  Wilhelm  Braumllller,  43S  p. 
O.P. 

An  extremely  valuable  book,  especially  in  its  earlier 
chapters,  which  tell  of  the  introduction  of  public  con- 
cert^, ngt  only  in  Vienna  but  in  other  European  capi- 
tals. 761, 

Hart,  George. 

The  Violin  and  Its  Mrsic.  N.  Y.,  Ditson, 
1883,  xi,  484  p.,  $3.  787.1 

Heron-Allen,  Edward. 

De  FiDiciTj.is  Biiii.iOGRArHlA;  being  a  basis  of 
a  Bibliography  of  the  Violin  and  all  (jther 
instruments  played  with  a  bow  in  Ancient 
and  Modern  Times.  Lond.,  Griffith,  Far- 
ran  &  Co.,  II  parts,  2s.  6d.  each;  others 
to  follow.  787 

Hipkins,  A.  J. 

A  Description  and  History  of  the  Piano- 

I'ORTE     AND     OK       IIIK     Ol.DER      KeVHOARD 

STRiNfJEi)  Instruments.     Lond.  and  N.  Y. 
Novello,  Ewer  &  Co.,  12S  p.,  $1.20. 

This  book  belongs  to  the  publishers'  "Music  Prim- 
ers and  Educational  Series.  It  is  included  in  this  list 
because  of  the  need  of  a  modern  work  of  modest  d|. 
mensions  having  authority.  It  is  a  model  of  condensed 
erudition,  786.1 


Hogarth,  George. 

Memoirs  of  hie  Opera  in  Italy,  France. 
Germany,  and  Ench-and.  Lond.,  Richard 
Bentley,  1S51,  2  vols.,  376,  379  p.     O.P. 

Second  edition  of  the  ^ame  author's  "  Memoirs  of 
the  Musical  Drama  "  published  in  1838.  782.1 

Hopkins,  Edward  J.,  and  Rimbault,  Edward  F. 

The  Organ,  Its  History  and  Cons  iRrcnioN: 
A  Comprehensive  Treatise  on  the  Structure 
and  Capabilities  of  the  Organ,  with  specifi- 
cations and  suggestive  details  for  instru- 
ments of  all  sizes,  intended  as  a  Handbook 
for  the  Organist  and  Amateur.  Preceded 
by  an  entirely  new  History  of  the  Organ, 
memoirs  of  the  most  eminent  builders  of 
the  XVII.  and  XVIII.  centuries,  and  other 
matters  of  research  in  connection  with  the 


II: 


I'll 


58 


Music :  Special  Histories, 


.i 


SUltjCC't,        31I     I'll,        I, Mini.,     RollCTt     CofkN    1^ 

Cn.    N.  v.,  Scluilirrth,  \>^'-; ,  (fs(>  |>.,  Jim. 

RxhaiiMivc  and  nchnliirly— thmiKh  sdiniMif  Dr.  Kim- 
buult'H  It  >t('incnl>t  muy  bu  accviitcu  witli  cauticm. 

780.5 
HutohinKon,  Tlnoch. 

Misir  III'  iiiK  Hiiu.k;  or,  Kxplanatnry  nutrs 
upiin  lliusc  passani's  in  thi-  Satrt'il  Siri|ii- 
iirc'S  which  rehitu  tn  .Music,  iticiinliiiK  a 
lirii-f  view  of  Ik'hrcw  I'octry.  Hosf.. 
(imiM  iS:  I.inciijn.  N.  \'.,  Sheldon  iS:  Co., 
iS(i4,  513  p.     ().!'. 

Very  useful,  cspcci.-illy  fur  the  literary  or  thenlnifical 
Mudent  who  wmlieH  tn  kiinw  the  »i({niticance  of  the 
musical  terms  in  the  Dible.  783 

Kiesewetter,  U.  O. 

SCIIICKSAIK  IMI  HKSrilAKKKMIKIr  HKS  Wi'ir- 
I.ICUKN  (Jks.vnc.ks,  VDin  frtlhen  Mittelalter 
liis  zti  ilcr  KrH'idun^j  dus  drainatischen 
.Styles  urid  den  AnfUn^en  der  Oper.  Mil 
Musikalischcn  HeilaKen.  Leipsicand  N.  Y., 
Hreitkopf  iV  HUricl,  1842,  xii,  105  p.,  paper, 
$5- 50. 

IndispenHnble  to  the  Rcrious  student  of  operatic  be- 
KinnmKs  and  the  monndic  style.  The  musical  illustra- 
tions contain  excerpts  from  I'eri,  Caccini,  and  Monte- 
verde.  In  an  appendix  a  German  translation  ot  a  lar^e 
portion  of  Caccini's  Nuovt  musichc  printed  in  Flor- 
ence in  1601.  782.1 

Kieaewetter,  R.  O.,  aiul  FetiH,  F.  J. 

V'KKii.\MiH.i.iN(iKN.  Hckroond  en  ritRcvcn 
d<nir  de  Vierdc  Klasst-  van  het  Koninklijk- 
Ncderlandsche  Instituut  van  VVctenschaj)- 
pcn,  Letterkiindc  en  .Schoone  Kunsten. 
Amsterdam,  J.  .Muller  en  Cotiip.,  liaij. 
O.I'. 

Two  treatises,  crowned  by  the  Royal  Institute  of 
Science,  Literature,  and  Fine  Arts  of  the  Netherlands 
in  1838,  on  the  uucstion  •  "  What  were  the  merits  and 
achievements  of  the  Nctherlanders,  particularly  of  the 
XIV.,  XV.,  and  XVI.  centuries,  in  the  field  of  music  ? 
and.  what  was  the  influence  of  the  Nelherland  musi- 
cians of  that  period  who  went  to  Italy  on  the  Music 
Schools  which  came  into  existence  in  that  country 
shortly  afterward?"  The  treatise  of  Kiesewettcr, 
which  received  the  jjold  medal  is  111  German,  that  of 
Fitis,  which  took  the  silver  medal,  !•>  in  French.  Hoth 
essays  are  of  value,  and  the  buuk  is  frequently  Itsted 
"  •   780.049 


in  the  German  catalof^ucs. 


Hrehbiel,  Henry  Edward. 

NciTKS      ON     TlIK     Cl!|.riVATIO\     OK     ClfOKAI, 

Mi'sic,  and  the  Oratorio  Society  of   New 
York.     N.    Y.,    Schulierth,    1SS4,    k/j    p. 
$1.25. 

The  Piiii.iiAUMnNir  SoriETY  ok  New  York. 
A  Memorial,  published  on  the  occasion  of 
the  Fiftieth  Anniversary  of  the  Founding 
of  the  Philharmonic  Society,  April,  1S92,  by 
the  Society.  N.  Y.,  Novello,  Ew«r  &  Co., 
i8()2,  183  p.,  %\. 

Contains  the  full  programmes  of  fifty  years,  Hsts  of 
officers,  members,  and  subscribers,  etc.  780.0 

Blaretzek,  Max. 

Crotciieis  A\n  Quavers  ;  or.  Revelations  of 
an  Opera  Manager  in  America.  N.  Y.,  S. 
French,  1855.  346  p.,  $2.50.     O.P. 

Sharp.?  and  Flats,  a  sequel  to  "  Crotchets 
and  Quavers."  N.  Y.,  Schuberth,  i8(p,  87 
p.,  50c. 

Recitals  of  memories  and  experiences  in  a  light  vein 
which  are  not  to  be  taken  too  seriously  by  searchers 
for  historical  fact.  The  first  book  is  long  out  of  print, 
but  the  price  is  taken  from  Scribner's  Musical  Lit- 
trature  Lilt.  The  second  appeared  in  paper,  and  the 
American  Musician  Publishing  Co.,  tnat  originally 
issued  It,  IS  no  longer  in  existence.  782 


Mathewa,  W.  S.  B. 

A  IIiMiKKii  Ykaks  or  MfSIc  I\  .\MF.Rir.\ 
.\n  Acciiimt  of  .Musical  I'W'fort  in  .America 
during'  the  I'ast  Century,  inchidinn  I'opiilar 
Music  and  SinKin^;  .Schools,  Church  Music, 
.Musical  Conventions  and  T'estivals,  ( )rchis- 
tral.  Operatic,  ;ind  Oratorio  Music;  Im- 
provements in  Musical  Instruments;  Popu- 
lar and  the  Higher  Musical  Kdiicition  ; 
Creative  Acti\ity,  and  the  Itcginiiiiig  of  a 
National  .School  of  Musical  Composition.  \ 
full  and  reliat)le  Summary  of  American 
Musical  Kffort  as  displayed  in  the  Personal 
History  of  Artists,  Composers  and  Kdu- 
cators.  Musical  Inventors,  and  journalists, 
with  upwards  of  2(xj  full-page  Portraits  of 
the  most  distinguished  VVorkers,  together 
with  Historical  and  Hiographical  Sketches 
of  Important  Personalities,  Chic.  (1.  I.. 
Howe,  1889,  715  p.,  I5.50.  780.973 

Mount  Edgecumbe,  Harl  k/. 

Mrsic.M,  Kkmimsckniks,  chiefly  respecting 
the  Italian  0|)era  in  England.  3ded.  Lund., 
TS2S.     O.P, 

Valuable  for  its  ^hmpses  into  English  taste  and  cus- 
toms a  century  an".  782.6 

Naylor,  Edward  W. 

SiiAKKSi'KAKi-.  AMI  Misic  With  illustrations 
from  the  music  of  the  X\'l.  and  XVII. 
centuries.  I.ond.,  J.  M.  Dent  *\:  Co.  N. 
Y.,  Macmillan,  181/),  225  |).,  $1.2?. 

One  of  the  Temple  Shakespeare  .Manuals.  Generally 
correct  and  readable.  780.4 

Paleographie  Musicale. 

F.\(-siMii.Ks  riiororvi'ioi'F.s  pes  PRiNTirAi'x 

MaNTSI  RIIS  DE  CHANI'  (iKElJOKIKN,  AMllRO- 
SIEN,  M()/AK.\IIE,  (iAI.I.KA.V,  |)ul)li6s  par  les 
Hiinidictins  de  Solesmes.  Paris,  Alphonse 
I'icard.  Leipsic  and  N.  Y.,  Breitkopf  iS: 
lliirtel.  Four  numbers  have  been  issued 
each  year  since  i8Sg.     Per  year,  fS. 

A  work  of  rare  value  to  all  students  of  mediicval 
church  music  in  generaland  thedevel :)pmcnt  of  musical 
notation  m  particular.  The  first  manuscript  reproduced 
IS  the  celebrated  r.ne  in  the  Library  of  the  Monastery  of 
St,  Gall,  which  Lambillotte  published  (in  lithographic 
/ac-simiM  as  the  Anii/ihonaire  de  Saint  (irt',i;oire 
but  which  Gevaert  has  proved  to  be  simply  s  Vantalo- 
>•(«;«— that  is,  the  book  of  a  solo  sinticr.  The  work  is 
dedicated  to  Pope  Leo  XIII,  and  is  expected  to  be 
completed  by  a.u.  1900.  780.8 

Perkins,  Oharles  0.,  a)id  Dwight,  John  S. 

HisroRV  oKiiiE  Handei.am)  Havhn Society 
OK  HosroN,  MAssAt.iirsETTs.  From  the 
Foundation  of  the  Society  to  its  seventy- 
fifth  season,  i8i5-i8<jo.  Bust.,  Handel  and 
Haydn  Society,  1883-1893,  $1.50. 

This  work,  of  great  value  to  the  study  of  musical 
culture  in  New  England,  was  begun  by  Mr.  Perkins, 
who  was  president  of  the  Handel  and  Haydn  Society 
from  187s  to  1886.  He  wrote  the  extremely  interesting 
sketch  of  the  music  of  the  Puritans  and  the  history  of 
the  Handel  and  Haydn  Society  to  the  end  of  the  36th 
season.  May,  1851.  Mr.  Perkins  died  in  August,  1886, 
and  Mr.  Dwight,  who  had  edited  Dmight's  journal  0/ 
Music  for  nearly  thirty  years  (1852-1881),  completed  the 
work.  The  work,  which  was  issued  in  parts  contains 
518  pages  of  historical  narrative;  a  list  of  concerts,  23 
pages:  anJ  123  pages  devoted  to  the  Society's  charter, 
by-laws,  and  lists  of  officers  and  members,      780.974 

Reissmann,  August. 

Das  Deutsche  Lied  in  seiner  Historischen 
EsTWicKLUNG.     Cassel,   Oswald    Bertram, 
1 861,   290   p.,  letter-press,  41    musical  ex- 
amples.    O.P. 
A  study  of  the  development  of  ttie  artistic  song  in 


Miiuc  :  S/it'ciiil  Histories, 


S9 


(icrmany,  will)  a  brief  prt'liminury  dluuwiion  of 
Minne-  Mastrr-  ami  Knlk-Soni,'".  The  examples  arc  ii 
».ini{iiof  the  XV.,  XVI.,  XVlF.,  anil  XVUI.  cenhines. 

784.3 

Riemann,  Hugo. 

•Si  IDIKN  /IK  ("•KSCIMCITIR  I>RR  No  iFNirirRIF  r, 
l.eipsii-  and  N.  Y.,  Uri-itkopf  iV  IMlrti-l,  1S7S, 
xvi,  3rt)  p.,  with  twelve  plates  illiistralini; 
the  (levelupinent  of  notes,  the  staff,  ami  the 
•  lefs,  !j'4. 

A  b<)i>k  thai  stands  practically  alone  in  itsilepart- 
nictu.  A  Hlii>rt  treatise  liy  the  Hume  aiilhi>r  <in  the  ile- 
velopmcnt  i>f  musical  notation  is  prinlid  as  No.  1%  of 
the  Sam  HI  I  urn;  Musikalischer  ri>>7r,iv>',  published  by 
Hreitl<opf  St  HUrtcl  (Lcipsic  and  N.  Y.),  22  p.,  ^oc. 

780.0 

Rimbault,  Edward  F. 

TllK   PlAMilDKl  K.    IlsORiniN,  F'ROr.RF.SS,  AND 

CoNsi  Ki  CTIDN.  With  some  Account  of  In- 
struments of  the  -Same  Class  which  ])re- 
ceiled  it,  \\i...  the  Clavichord,  the  Vir^jinai, 
the  Spinet,  the  Har(>sichord,  etc.  To  which 
is  added  a  Selection  of  Interesting  Sjieci- 
itiens  of  Music  composed  for  Keyed- 
Strinj,'ed  Instruments.  Lond.,  Cocks.  N. 
Y.,  Schuberth,  iSfx),  xi,  420  p.,  $3.75. 

An  important  work.  The  music  in  the  Appendix 
consists  uf  compositions  by  Hlitheman,  Hyrd,  Hull, 
Frescobaldi,  du  Mont,  Chambonniires,  Lully,  I'urcell, 
Muschhausor,  Kuhnau,  Mattheson,  D.  Scarlatti,  Cou- 
perin,  ).  S.  Rach,  Handel,  MufTat,  dc  .Mundonville,  and 
C   I'.  E.  lUch.  •  786.1 

Ritter,  Frederic  Louis. 

Mt;si(;  IN  Amkkk  A.  New  edition  with  ad- 
ditions in  1890.     N.  v.,  Scribner,  521  p.,  I2. 

A  necessary  book  because  its  field  is  shared  with  no 
other;  but  it  is  ill  balanced  and  its  statements  must  be 
received  with  caution.  780.943 

Sohletterer,  H.  M. 

Das  DKCistiiK  Sincspiki,,  von  scinen  ersten 
Anfiln^jen  his  auf  die  neuestc  Zeit.  Augs- 
burg, J.  A.  Schlosscr,  1S63,  340  p.     ().  P. 

784.3 

GKsniiniTF.  r>F.R  Oftstt.iciif.n  Diruri'M;  i'nd 
KiKiiii.iciiKN  To.NKiNsr,  in  Ihrem  Zu- 
sanimenhange  mil  der  Politischen  und  So- 
cialen  Entwickelung  insbcsondere  des 
Deutschen  Volkes.  Hanover,  Carl  Rilmp- 
ler,  1S69.  588  p.     O.P.  783 

Studikn  zur  Geschiciitf.  der  Franzosischen 
MusiK.  Berlin,  R.  DamkOhlcr,  1884-1885, 
$580.  780.944 

Schletterer's  contributions  to  musical  history  are  all 
valuable  as  putting  material  into  the  hands  of  the  stu- 
dent otherwise  difiicult  to  arrive  at.  His  study  of  the 
German  Singsfiiel  contains  the  texts  of  a  number  ol 
German  and  Latin  Easter  and  Passion  Plays  of  the 
XMI.  to  the  XVn.  century,  as  also  the  text  of  Opitz's 
Dafne.  His  volume  of  Studies  in  French  Music  em- 
braces: I.  History  of  theCourt  Orchestra  of  the  French 
KinGTS  (from  the  Merovingians  to  Charles  X.),  2j6  p.; 
II  History  of  the  Musicians'  Guilds  and  the  Rots  ties 
yiolons  of  Pans,  152  p.;  III.  Preliminary  History  and 
First  AKempts  of  the  French  Opera,  199  p. 


Shedlock,  J.  S. 

'rilF,     I'lAMil-DRIK,   SoNAI  A  :     IIS    ()K|I1INANI» 

DiA-Floi'MKsr.     I.ond.,  Mclhuen  \"  Co.    N, 

Y.,  Scribner,  i*^')!;.  245  p.,  $2. 

A  book  with  a  good  purpoae,  well  fultillcil.    786.41 

Vidal,  Antoine. 

I.Ks  Insiki  MK.NTS  \  Akciiki;  les  Faiscurs,  les 
joueurs  d'iiistrunKiits,  leiir  Mistoire,  sur 
Ic  Continent  Kuropten.  Suivi  d'un  Cata- 
logue K^neral  de  la  Musicp  '•  de  Chambre. 
()rn6  de  planches  uravees  d  I'eau  forte,  par 
Frederic  Hillemachcr.      Paris,  Jules  Cl'aye^ 

1877.  3  vols.     O.P. 

A  magnificent  work  in  its  scope  and  matter  ns  welf 
as  Its  artistic  execution.  Practically  it  is  out  of  print 
and  is  usually  bought  at  second  hand.  In  i88g  the  por- 
tion referring  to  manufacture  was  reprinted  under  the 
title.  La  Luthirie  <t  les  Liilhiirs,  Pans,  Uuantin. 
2,  (r.  ■*     787 

Wasielewski,  W.  J.  von. 

(Ik.SCIIICIITE       UKR      iNSTRfMFNTAT.MrsiK      IM 

XVI.  jAiiRiUNiiKRf.     .Mit  Abbildungen  von 
Instrumenten  und  Musikbeilagen.     Merlin, 

1878,  J.  (luttentag,   170  p.,  letter-press;  to 
jilates;  i)5  p.  of  music,  $1.75. 

An  admirable  study.  Chapter  I.  treatsof  the  musical 
Instruments  of  the  XV.  and  XVI.  centuries,  II.,  of 
musical  practice  in  the  XVI.  century;  III.  and  IV.,  of 
composition.  780.0 

The  Yioi.dncki.U)  and  its  History.  Ren- 
dered into  English  by  Isobella  S.  E.  Sti- 
gand.  With  Illustrations,  Musical  E.xam- 
ples,  and  Portrait  of  Robert  Lindley.  N. 
Y.,  Novello,  Ewer  &  Co.,  «2.40.  787.3 

Weitzmann,  O.  F. 

HisniRVOK  Pianoforte  Pi.AViNnANn  Ptano- 
KORTE  Luekahire.    With  Musical  Appen- 
tiices    and   a    Supplement    containing   the 
History  of  the  Pianoforte  according  to  the 
latest  researches.     Illus.   With  a  biograph- 
ical sketch  of  the  author  and  notes  by  Otto 
Lessmann.     Transl.  by  Dr.  Th.  Baker.    N. 
Y.,  Schirmer,  370  p.,  I2.50. 
An  accepted  authority.    Contains  specimens  ol  com- 
positions for  keyed  instruments  from  the  XVI.,  XVII., 
and  XVI 1 1,  centuries,  and  an  exposition  of  the  old 
ornaments  and  graces.  786.1 

Winterfeld,  O.  von. 

Johannes  Gahriei.i  tnd  seinZeitai.ter.  Zur 
Geschichte  der  HUlthe  heiligen  Gesanges 
im  sechzehnten,  und  der  ersten  Entwick- 
elung der  Hauptformen  unserer  heutigen 
Tonkunst  in  diesem  und  dem  folgenden 
Tahrhunderte,  zumal  in  der  Venedischen 
fonschule.  Berlin,  Schlesinger,  2  vols. 
(the  second  devoted  to  musical  illustrations 
wholly).     O.P. 

The  master-work  of  one  of  the  soundest  of  Ger- 
many's musical  historians.  It  is  invaluable  for  a  study 
of  the  Venetian  masters,  Giovanni  Gabrieli,  Adrian 
Willaert,  Cyprian  de  Rore,  Zarlino,  Merulo,  Andrea 
Gabrieli,  their  immediate  predecessors  and  successors, 
as  also  the  first  musical  dramatists.  782 


6o 


Ancient  and  Mediaval  Music 


PART    III. 


ANCIENT    AND    MEDI/EVAL    MUSIC. 


Arends,  Leopold  A.  F. 

UEHER  den  Sl'RACHGESANC;  DER  VORZEIT  UNI) 
DIE  HeRSTELI.HARKKIT  DER  ai.thehrAisciien 
VocAl.MUSiK.  Mit  entsprechenden  Musik- 
beilagen.  Berlin,  Friedr.  Schuize,  1867, 
123  p.     O.P. 

An  extremely  valuable  dissertation  on  the  nature 
and  employment  of  music  among  the  peoples  of  classic 
antiquity,  with  an  experiment  in  the  restoration  of  He- 


brew music  on  the  basis  01  vowel  values. 


780.9 


Bellermann,  Friedrich. 

Die  Hymnen  des  Dionysii's  itnd  Mesomedes. 
Te.xt  und  Melodieen  nach  Handschriften 
und  den  alien  Ausijaben.  Berlin,  Albert 
Ffirstner,  1S40,  83  p.,  with  4  plates  in  fac- 
simile.    O.P. 

A  study  of  the  three  Greek  hymns  to  Calliope, 
Apollo,  and  Nemesis,  first  made  public  by  Vincenzo 
Galilei  (see)  The  author  treats'  I.,  The  source.'  and 
literature  of  the  hymns;  II  Criticism  and  exposition 
of  the  texts;  III  .  Metre,  superscriptions,  glosses,  and 
authors;  IV.,  Criticism  and  exposition  of  the  melodies. 

783.9 

Ooussemaker,  E.  d9. 

fEiTVRES  CoMri.ETES  Du  Trohvere  Adam  he 
i.A  Halle  (pofesies  et  musique).  publi&es 
sous  les  auspices  de  la  Soci6t6  des  Sciences, 
des  Lettres  et  des  Arts  de  Lille.  Lille,  A. 
Durand  &  P6done-Lauriel.  1872.  440  p. 

A  superb  work,  containing  a  biographical  sketch  of 
de  la  Halle  (an  extremely  important  figure  in  mediaeval 
music  and  the  drama),  a  review  of  the  existing  manu- 
scripts of  his  works,  a  study  of  his  musical  compositions, 
and  a  reprint  of  his  complete  works,  with  glossary  and 
a  translation  of  his  music  into  modern  notation.     782 

O^vaert,  Francois  .Ausruste. 

Lcs  Orkjines  1)U  Chant  LiTURGrQtTE  de 
L  .tcLisELATiNE.  Paris.  A.  Picard,  1890.  5  fr. 

DeR     URSPRf.NO     PES     RoMISCIIEN    KlRCUEN- 

GESAiV;.;:3.  Musikgeschichtliche  Studie. 
Deutsch  von  Dr.  Hugo  Riemanii.  Leipsic 
and  N.  Y.,  Breitkopf  &  HUrtel,  1891,  87  p., 

tr.15. 

A  revolutionary  book,  which  overturns  the  fiction 
current  for  centuries  touching  the  signilicance  of 
Gregory  the  Great  in  the  history  of  Church  music 

783.5 
Hope,  Robert  Charles. 

MedI/T.vai  Music  :  An  Historical  Sketch. 
Lond.,  Elliot  Stock,  1894,  181  p.,  5s. 

Useful  as  a  concise  compendium,  but  not  alwajs  to 
be  trusted,  especially  in  the  department  of  ancient 
music.  780  9 

Eiesewetter,  R.  O. 

GUIDO      V0.\      AREZZO.         SeIN      LeBEN      UNI) 

Wirken.  Aus  Veranlassung  und  mit  be- 
sonderer  RUcksicht  auf  eine  Dissertation' 
Sopra  la  vita,  le  open  cd  il  sapere  di  Guido 
d'Artzzo,  von  Luigi  Angeloni.  Nebst 
einem  Anhange  tlber  die  Uem  heiligen 
Kernhard  zugeschrieben  musikalischen 
Tractate.  Leipsic  and  N.  Y. ,  Breitkopf  & 
Hartel,  1840,  55  p.,  paper,  90  c.       780.946 

Lambillotte,  Lotiis. 

Anth'Honaire    ue    Saint    Gr^goire.     Fac- 


simile du  manuscrit  de  Saint  Gall  (copie 
authentique  de  I'Autographe  6crite  vers 
Tan  790),  accompagne  I,  d'une  notice 
historique;  2,  d'une  dissertation  donnant  la 
Clef  du  chant  Gr6gurien,  dans  les  antiques 
notations  :  3,  de  divers  monuments,  ta- 
bleaux neumatiques  infedits,  etc.  etc.  150 
Planches.  Brussels.  Ch.-J.-A.  Greuse, 
1867,  234  p.     O.P. 

A  reproduction,  with  commentary,  of  the  famous 
codex  300  of  the  library  in  the  Monastery  of  St.  Gall, 
Switzerland.  The  original  edition  appeared  in  1851. 
(See  Oevaert.  and  PaUographie  musicale.  783.6 

Musici  Scriptores  Oraeci. 

Aristoteles,  El'clides,  Nicomachus,  Bac- 
ciiiis,  Gaudentus,  .Alyi'iis,  et  Melodi- 
arum  Vr.TERiM  QiiQiii)  E.xsTAT.  Racogno- 
vit  prooemis  et  indice  instruxit  Carolus 
Janus.  Annexae  sunt  tabulae.  Leipsic, 
Teubner,  1895,  503  p.,  $2.40. 

This  publication  places  within  easy  reach  of  scholars 
the  ancient  musical  treatises  for  which  until  recently 
they  were  obliged  to  depend  chiefly  upon  the  work,  A  n- 
iiquie  musicir  auctores  septem,  published  by  Meibom 
in  Amsterdam,  7552.  This  latter  is  not  infrequently 
met  with  in  the  catalogues  of  the  German  dealers  in 
second-hand  musical  books,  but  il  is  a  treasure  and  the 
price  IS  prohibitive  to  all  except  the  rich  (generally 
about  $25)  Copies  can  be  consulted  in  New  York  at 
the  Astor  Lenox  and  Columbia  University  libraries. 
The  new  work  issued  in  the  Biblioiheca  Scriptorum 
Cracorum  et  Romanorum  Teubnerinna  is  not  only 
cheap  but  it  is  voluminously  annotated  and  indexed, 
prefaced  with  a  study  of  the  manuscripts  and  supple- 
mented with  brief  essays  on  the  existing  relics  of 
ancient  Greek  music  (see  C.  F.  Abdy  Williams  and  Bel- 
lermann)  which  are  given  in  their  original  and  modem 
notations  The  editor  rejects  the  music  of  the  first  Pythic 
hymn  by  Pindar  given  by  Kircher  as  a  fabrication. 

780.0 
Paul,  Oscar. 

Die  Ahsolcte  Harmonik  per  Griechen. 
Eine  Abhandlung  zur  habilitation  in  der 
philosophischen  Facultat  der  UniversitUt 
Leipzig.  Leipsic,  Alfred  Dorffel,  1866,  44 
p.  letter-press  and  33  p.  tables  and  plates. 
O.P.  781.3 

BoETirs  t'Nn  hie  Griechische  Harmonik. 
Des  Anicius  Manlius  Severinus  Boetius 
fUnf  BUcher  Uber  die  Musik.  aus  der  Latei- 
nischen  in  die  Deutsche  Sprache  Uber- 
tragen  und  mit  besonderer  berUcksichti- 
gung  der  Griechischen  Harmonik,  erkldrt. 
Leipsic,  F.  E.  C.  Leuckart,  1872,  379  p. 
O.P. 

A  translation  into  German  of  the  De  Muiica  by 
Boifthius,  preceded  by  a  brief  outline  of  the  harmonic 
system  of  the  Greeks  and  an  essay  on  the  life  of  the 
philosopher  and  his  importance  in  music.  Then  follows 
an  exhaustive  exposition  of  the  treatise,  with  numerous 
tables  and  /ac'simile  reproductions  from  mediaeval 
codices.  781.3 

SaalschtLtz,  Joseph  Levin. 

Geschiciite  UNI)  WCrdiguno  tier  Musik  nEi 
DEN  HnBRAERN,  im  Verhaitniss  zur  sonsti- 
gen  Ausbildung  dieser  Kunst  in  alter  und 
neuer  Zeit.  nebst  einem  Anhange  Uber  die 
HebrUische  Orgel.  Berlin,  G,  Fincke,  1829, 
141  p.  O.P. 
A  little  book  of  unique  value.    It  fol<ows  a  cbrono- 


Folk- So nq  and  National  AT u sic. 


6i 


783.5 


logical  plan  in  tre^tingrof  the  practice  of  music  amongst 
the  Hebrews  o(  Bible  times,  and  compares  their  in- 
struments with  those  of  the  ancient  Greelts  and  modern 
Arabs.  In  an  appendix  is  a  treatise  on  the  Magrefiha 
of  the  Talmud,  which  is  held  to  be  an  organ,      780.9 

Schubiger,  P.  Anselm. 

DiK  SANr.KRSCHUI.K  St.  Oai.i.f.ns  vom  aciitf.n 
BIS  z\vOi.i-TK\  jAiiRiirNDERT.  Eiii  Heitraj; 
zur  GesangReschichte  des  Miitelalters.  N. 
Y.,  Henziger  Bros.,  185S,  60  p.     $2.50. 

Long  a  recognized  authority  on  the  history  of  the 
mediaeval  Church  chant.  But  see  Gevaert,  l.cs  origines 
dit  Chant  Liturgique  de  /' Kgiise Latine,  Lambillotte, 
Antifihonaire  de  iiaint  Grvgoire.,  and  I'aUographie 
tnusicale.  783.5 


Sokolowsky,  B.  von. 

etc.) 


(.S'lV  Ambros,  Gesihiclite, 


Stainer,  John. 

Thk  Musk:  ok  tiif.  Rinr-F.,  with  an  account 
of  tht  Uevclopment  of  Modern  Musical  In- 


struments   from    Ancient   Tvpes.     N.    Y., 

Cassell,  186  p.,  $1.50.     O.P.  ' 

An  excellent  treatise.  783 

Westphal,  Rudolf. 

Harmonik    UNI)   Mki.opoik   df.r    Grifchf.x. 

Leipsic,  H.  G.  Teubner,  1863,  372  p.     O.l'. 

Like  all  the  other  works  of  Westphal,  clear  and  au- 
thoritative. 781.3 

Pi.rTVRCir  f HKR  DIK  MirsiK.     Leipsic,   F.  E. 
C.  Leuckart,  1865,  95  p.     O.P. 

The  te.\t  of  Plutarch's  HKl'I  MOTJIIK  Hi:  together 
with  a  German  translation,  a  commentary  on  the  pres- 
ervation of  the  text  and  explanatory  notes.  780.0 

Williams,  O.  F.  Abdy. 

TiiK  Mrsic  (IV  THK   Ancient  Grkeks,  with 
Notes  and   Translations.     N.  Y.,   Novello, 
Ewer  &  Co.,  8  p.,  paper,  20  c. 
Contents  :  Pindar's  first  Pythic  Ode  (from  Kircher's 
Musurgia,-ityi),  Hymn  to  Apollo,  discovered  at  Del- 
phi in  i8q3,  the  epitaph  discovered  in  1882  at  Tralles, 
near  Ephesos,  and  the  three  hymns  of  Dionysius  and 
Mesomedes  (see  Bellermann).  780.0 


PART    IV. 


FOLK-SOXG    AND    NATIONAL   MUSIC. 


Allen,  W.  F.,  Ware,  C.  P.,  and  Oarrison,  Lucy 
McKim. 

Slave  Songs  ok  thk  Unitkd  .Statks.  N. 
Y.,  A.  Simpson  &  Co.,  1S67,  xxxviii,  lis  p. 
O.P. 

Important  for  the  study  of  folk-song  in  America. 
Contains  136  songs  collected  in  South  Carolina,  Geor- 
gia, the  Sea  Islands,  Delaware,  Maryland,  Virginia, 
North  Carolina,  Tennessee,  Arkansas,  Florida,  and 
Louisiana.  Also  an  extremely  interesting  study  of 
slave  characteristics.  784.7 

Amiot,  Phf  Joseph. 

MftMOIRE  SIR  l.A  MfSinUK  DKS  ClIINOIS,  TANT 

Anciens  que  Modernes.     Paris,  17S0.    O.P. 

This  treatise,  the  work  of  a  Jesuit  missionary,  was 
long  the  chief  source  of  information  touching  Chinese 
music.  It  forms  Vol.  VI.  of  the  Memoires  concernant 
rhisioire,  les  sciences,  les  urts.  les  maurs,  les  usages, 
etc..  des  Chinois,  par  les  missionaires  de  Pekin.  A 
'Small  edition  was  separately  printed  in  1779.  It  has 
not  been  issued  in  English,  but  a  German  abstract  ex- 
ists in  manuscript  in  the  collection  of  musical  books 
made  by  Joseph  W.  Drexel,  now  incorporated  with  the 
Lenox  Library,  New  York.  780.051 

Baker,  Theodor. 

UkBKR  DIK  Ml'SIK  DER  NoRDAMERIKANISCHEN 

Wii.DEN.  Eine  Abhandlung  zur  Erlangung 
der  DoctorwUrde  an  der  UniversitUt  Leip- 
zig.    Leipsic,  18S2.     O.P. 

A  study  of  the  music  of  North  American  Indians 
written  as  a  thesis  for  the  degree  of  Ph.D.  at  the  Uni- 
versity of  Leipsic.    Only  to  be  had  at  second-hand. 

780.073 

Seas,  Franz. 

Second  General  Report  on  thk  Indians 
OK  British  Coi.umhia.  Published  in  the 
Sixth  Report  on  the  Northwest  Tribes  of 
Canada  made  to  the  British  Association 
for  the  Advancement  of  Science  at  the  Leeds 
meeting  in  1890.  Offices  of  the  Associa- 
tion, Burlington  House,  Lond.,  W.,  2S.  6d. 
Contains  interesting  studies  of  the  games  and  cere- 


moniesof  the  Nootka,  Salish,  and  Kwaklutl  tribes  of 
the  Pacific  Coast,  with  the  incidental  music. 

780.073 
Boehme,  Franz. 

GkSCHICHTK  DKS  TaN7,ES  IN  Deutschland. 
Beitrag  zur  deutschen  Sitten-,  Litteratur- 
und  Musikgeschichte.  Nach  den  Quellen 
zum  ersten  Mai  bearbeitet  und  mit  alten 
Tanzliedern  und  Musikproben  herausgege- 
ben.  Leipsic  and  N.  Y.,  Breitkopf  &  Har- 
tel,  1886,  2  vols.,  vii,  J39,  221  p.,  $8. 

An  admirable  book.  Vol.  I.  is  devoted  to  a  histori- 
cal and  technical  study  of  the  dances  which  found 
their  way  into  Germany;  Vol.  II.  to  musical  examples. 

786.46 

Brown,  Mary  iB.,  and  Brown,  William  Adams. 

Mi'sicAL  Instri'ments  and  their  Homes. 
With  270  illustrations  in  pen  and  ink  by 
William  Adams  Brown,  the  whole  forming 
a  complete  catalogue  of  the  Collection  of 
Musical  Instruments  now  in  the  possession 
of  Mrs.  J.  Crosbv  Brown,  of  New  York. 
N.  Y.,  Dodd,  Mead  cS:  Co.,  380  p.    O.P. 

The  collection  of  instruments  described  in  this 
sumptuous  volume  is  now  deposited  in  the  Metropoli- 
tan museum  of  Art,  New  York.  The  book  is  much 
more  than  a  catalo^e.  It  contains  chapters  on  the 
music  of  many  races,  tribes,  and  peoples,  which,  while 
they  do  not  always  disclose  soundness  01  scientific  dis- 
cernment on  the  part  of  the  writers,  show  at  least 
patience  and  industry  in  the  study  of  original  sources 
which  are  mentioned.  787 

Ohappell,  William. 

Old  Enclish  Popilar  Mrsic.  New  edition  with 
preface  and  notes,  and  the  earlier  ex- 
amples entirely  revised  by  H.  Ellis  Wool- 
dridge.  Lond.,  Chappell,  1893,  2  vols., 
220,  220  p.,  42s. 

A  carefully  edited  and  beautiful  reprint  of  an  in- 
valuable work.  784.4 


Day,  C.  R. 

The  Music   and   Musical 


Instruments  of 


62 


Folk-Soil}^  anil  National  Music. 


m 


Soui'iiKKN  India  and  tiik  Dkccan.  With 
an  introduction  by  A.  J.  llipivins,  I'.S.A. 
Tlie  plates  drawn  by  William  (Jibb.  X.  Y., 
Novello,  Ewer  &  Co.,  173  p.,  S25. 

A  sumptuous  work,  the  edition  limited  to  700  copies 
on  plate  paper  and  50  artist's  proofs  on  Japanese  paper. 
It  contains  17  chromo-lithoKraphic  plates  oesidesdraw- 
ings  of  musical  instruments.  The  letter-press  discusses 
the  history,  theory,  and  uses,  both  secular  and  relig- 
iqus,  of  Indian  music,  describes  the  'nstrumcnts  de- 
lineated by  the  colored  plates,  jiivcs  a  list  of  famous 
musicians  and  a  comprehensive  bibliography.  780.954 

De  la  Villemarque.     See  Villemarque. 

Edwards,  Charles  L. 

Bahama  Songs  and  .Storiks.  A  contribu- 
tion to  Folk-Lore.  lUus.  Most.,  IIouKhton, 
Mifflin  iS:  Co.,  1S95,  .\iii,  in  p.,  $3.50. 

One  of  the  memoirs  of  the  American  Folk-Lore  So- 
ciety. The  author  and  compiler  is  Professor  of  Biol- 
ogy in  the  University  of  Cincinnati.  784.3 

Engel,  Oarl. 

TiiK  Music  of  the  Most  Ancient  Natidns. 
Lond.,  Murray,  1864,  379  p.     O.  I'. 

An  iNTRont'CTioN  to  tick  Study  ok  Na- 
tional Music.  Lond.,  Longmans,  1S66, 
435  p.     O.P. 

The  Literature  ok  National  Music. 
N.  Y.,  Novello,  Ewer  &  Co  ,  loS  p.,  $2. 

This  last  is  a  reprint  of  an  essay  published  in  in- 
stalments from  July,  1878,  to  March,  1879,  in  The  Mu- 
sical Times  of  London.  It  is  to  be  commended  to  the 
student  of  folk-music  as  an  aid  in  the  most  difficult 
feature  of  his  study— the  procurement  of  evidence  and 
authorities.  784.4 

Erk,  Iiudwig,  aiul  B&hme,  Franz. 

Deutscher  LiEDERHORT.  Auswahl  der  vor- 
zUglicheren  Deutschen  Volkslieder,  nach 
Wort  und  Weise  aus  der  Vorzeit  und  Gegen- 
wart.  Leipsic  and  N.  Y.,  Hreitkopf  &  HUr- 
tel.  1883-1894,  3  vols.,  ix,  656,  800,  919  p., 

Iis-go. 

A  monument  to  German  enidition,  natiencc,  and 
painstaking.  The  result  of  a  lifetime  of  labor  devoted 
to  one  end.  The  three  volumes  contain  217s  folk- 
songs (melodies  and  words),  with  notes  and  variants. 
Frkdied  in  1883,  when  his  collection  was  almost  ready 
for  publication.  Emperor  William  I.  ordered  its  pur- 
chase for  the  Library  of  the  Royal  Hochschule  fur 
Musik  in  Berlin,  and  the  Prussian  Minister  of  Kduca- 
tion  ordered  its  publication,  784.3 

Fletcher,  Alice  O. 

A  Study  ok  Omaha  Indian  Music.  With  a 
Report  on  the  Structural  I^eculiarities  of 
the  Music  by  John  Comfort  Fillmore,  A.M. 
Cambridge,  Peabody  Museum  cv  American 
Archoeology  and  Ethnology,  June,  1893. 

In  many  respects  the  most  suggestive  and  valuable 
contribution  yet  made  to  the  study  of  music  in  its  rela- 
tion to  ethnology.  In  the  work  of  writing  down  the 
music  of  the  Omaha  songs  Miss  Fletcher  had  the  help 
of  Miss  Sarah  Eliot  Newman,  and  in  ihe  task  of  '  ans- 
lation  and  interpretation  of  Francis  La  Flesche,  an 
Omaha  Indian  in  the  employ  of  the  Indian  Bureau  in 
Washington.  784.3 

Oagnon,  Ernest. 

Chanson  Populaires  nu  Canada  recuellies 
et  publi^es  avec  annotations  etc.  Quebec, 
1880,  350  p. 

An  excellent  collection,  and  generous  in  its  collation 
of  variant  readings.  784.3 

Zsawa,  S. 

Extracts  from  the  Rei'ort  of  the  Direc- 


tor   OK    JlIE    InSI'ITUTK   ok    MuSIC,  on  TIIK 

Result  OK  the  iNVEsiKiATioNS  Concern- 
iNi;  Musn',  undertaken  by  order  of  the 
Department  of  Education,  Tokio,  Japan. 
Transl.  by  The  Institute  of  Music. 

An  account  of  the  musical  reform  undertaken  by  the 
Japanese  Oovernment  in  1871,  as  the  result  of  which 
Occidental  methods  were  introduced  in  musical  instruc- 
tion in  Japan.  780.052 

Istomin,  Th.  M.,  <;>/</  Liltsh,  O.  O. 

Pksm  Rouskaoo  Nakoda,  Sohrani    v   Gou- 

IIERNIAII    ArCHANCKLSKOI    1    Ol.ONETSKOl,   V 

iS86  c.oDoN.  Zapissali,  slova,  Th.  M. 
Istomin,  napevy,  O.  ().  Liltsh.  Isdano 
Imperatorskim  Rousskim  Geograficheskim 
Obstchestvom,  na  sredstva  Vissochaishe 
darovannie.  Sanktpeterbourg,  Tipographia, 

E.  Arnholdt,  1S94,  245  p.  All  of  which 
signifies  in  English:  Sonc.s  ok  the  Rus- 
sian People,  collected  in  the  Provinces 

OK  ArcHANCEI.  AND  Ol.ONETZ,  IN   THE  YEAR 

1886.  Words  by  Th.  M.  Islomin,  music  by 
G.  ().  Liltsh.  Published  by  the  Imperial 
Russian  Geographical  Society  at  the  ex- 
pense of  the  Emperor.  St.  Petersburg. 
Printed  by  E.  Arnholdt,  1S94. 

The  book  is  invaluable  to  students  of  Russian  folk- 
song, though  it  has  the  drawback  of  being  wholly  in 
Russian.  It  contains  119  songs  taken  down  by  experts 
from  the  mouths  of  the  people.  784.S 

Kiesewetter,  R.  G. 

Ueher  die  Musik  der  neueren  Grieciien, 
nebst  freien  Gedanken  tlber  Altegyptische 
und  altgriechische  Musik.  Mit  VIII. 
Tafeln.  Leipsic  and  N.  Y.,  Breitkopf  & 
Hartel,  1838,  64  p.,  5  plates,  paper,  i3.6o. 

Die  Mi'siK  der  Araher,  nach  Origin'dquellen 
dargestellt,  begleitet  mit  einem  Vorworte 
von  dem  Freiherrn  v.  Hammer-Purgstall. 
Leipsic  and  N.  Y.,  Kreitkopf  &  Hartel, 
1842.  With  6  illustrations  in  the  text  and 
26  pages  of  musical  illustrations  showing 
the  Arab  scales  and  a  number  of  Egyptian, 
Arabian,  Persian,  and  Turkish  songs.  96 
and  xxvi  p.  paper.  ?3.6o. 

Though  old,  both  of  these  valuable  books  are  still  in 
the  stock  of  the  publishers  and  may  be  had  at  the  price 
quoted.  784.9 

Liszt,  Franz. 

DeS     HoilflMIENS     KT     DE     I.EI'R     MUSIQUK    EN 

HoNGRiE.  Nouvelle  Edition.  1881.  Leip- 
sic and  N.  Y.,  Hreitkopf  &  HSrlel,  iv,  540 
p.,  $5.50. 

Die   ZiGEtJNER    UND   HIRE    MUSIK    IN  UNOARN. 

Deutsch  bearbeitet  von  Peter  Cornelius. 
Leipsic  and  N.  Y.,  Breitkopf  &  Hartel,  259. 
p.,  $4.20. 

A  translation  into  German  by  Ramann  makes  up 
Vol.  VI.  of  Liszt's  Cesammelte  Schri/ten.  The  first 
German  edition  was  published  in  1861  by  G.  Hecke- 
nast,  Pesth.  The  value  of  the  'look  for  scientific  study 
is  impaired  by  the  fact  that  LisU  conceived  all  Magyar 
music  to  be  of  gypsy  origin.  780.943' 

Marsh,  J.  B.  T. 

The  Story  ok  the  Junii.EE  Singers,  with 
THEIR    SoNcs.     Rev.   ed.     Ravenna,  Ohio, 

F.  J.  Loudin,  243  p.,  85  c. 

Contains  the  story  of  the  first  tours  through  America 
and  Europe  by  the  Jubilee  Singers  of  Ftsk  University, 
a  brief  note  on  the  music  by  Theodore  F.  Seward,  and 
112  "  spiritual  "  slave  songs  from  the  Southern  States. 

784.7 


ric 
de 

<i  ■■ 
th( 
th( 
lie 

ca 
IJi 


t; 


Musical  Bto^^raphy. 


63 


Van  Aalst,  J.  A. 

Ciiink.sk  Misic.  LoikI.,  P.  S.  Kin-;  \'  Son, 
1S.S4,  84  p. 

This  is  one  of  the  official  publication?  of  the  Statisti- 
cal Department  of  the  Inspectorate  (leneral  of  Customs 
::l  Shan)rhai,  It  is  an  extremely  valuable  contribution 
to  the  subject  of  Chinese  music  and  contains  many  ex- 
amples; also  an  account  of  the  rites  performed  at  the 
Temple  of  Confucius  in  the  presence  of  the  Emperor. 

780.951 

Villemarque,  Th.  Hersart  de  la. 

H.\k/az-Bkk.iz.  Chants  Populaircs  de  la  Bre- 
taync,  recuc'illis  ct  puhlits  avcc  unc  Tr;  'uc- 
tii>n  fran9aise,  lies  Ar).(ume(Us,  cles  Notes 
et  les  Mfeludies  orifjinales.  41""  ed.  E'arls, 
A.  Franck,  1846,  2  vols.,  .\ix,  400,  49'j  p.,  56 
p.  of  imisic.    (3.1*. 

Supreme  in  its  department.  In  1841  fifty-three  of 
the  songs  were  translated  into  German  by  A.  Kelltr 
and  E.  von  Seckendorff  and  published  by  L.  F.  Fues  in 
Tubingen.  This  edition  along  with  the  later  Fiench 
version  is  occadonally  to  be  met  with  at  second-hand. 

784.4 
Walker,  Jcaeph  O. 

HisroRRAi.   Mkmoirs  of  thk  Irish  H.vrks, 


Interspersed  with  Anecdotes  of  and  occa- 
sional Observations  on  the  Music  of  Ire- 
land. Also,  an  Historical  and  Descriptive 
Account  of  the  Musical  Instruments  of  the 
Ancient  Irish,  and  an  Api)en(li.\  containing 
several  Hio)i;rai)hical  and  other  Papers, 
with  select  Irish  Melodies.  Lond.,  1786, 
the  body  of  the  book  166  p.,  the  Appendi.x 
129  p.     O.P. 

An  important  work,  seldom  appearing  in  second- 
hand lists.  There  is  a  copy  in  the  Lenox  Library,  New 
York.  The  appendix  contains  dissertations  on  the 
ancient  Irish  harp,  the  style  of  ancient  Irish  music,  the 
poetical  accents  of  the  Irish,  the  bagpipe  (in  Italian), 
memoirs  of  Cormac  Common,  an  "  Account  of  thtee 
Hrass  Trumpets  found  near  Cork,  with  Remarks  there- 
on," an  essay  "  On  the  Construction  and  Capability  of 
the  Irish  Harp,  in  its  Pristine  and  Present  State,"  and 
a  number  of  old  Irish  melodies.  780.04 15 

Wallaschek,  R. 

Primitivk  Misic.  An  Inquiry  into  the  Ori- 
gin and  Development  of  Music,  Songs,  In- 
struments, Dances,  and  Pantomimes  of  Sav- 
age Races.  N.  Y.,  Longmans,  x.xii,  326. 
y  p.,  $4.50.  780.9 


PART   V. 


H  I  O  G  R  A  P  H  Y  , 


makes  up^ 


Apthorp,  William  F. 

Hector  Hkri.ioz  :  .Selections  from  His  Let- 
ters and  .itlsthetic,  Humorous,  and  Satiri- 
cal Writings.  Transl.,  with  biographical 
sketch  of  the  author.     N.  Y.,  H"ult,  427  p. 

$2. 

A  readable  translation  of  well-chosen  extracts  from 
Berlioz':!  French  writings,  "  First  Journey  to  Oer- 
many,"  "  Musical  Grotesques,"  and  "  A  Travers 
Chants."  In  an  appendix  are  M.  Guillaume's  dis- 
course at  the  funeral  of  Berlioz  and  a  catalogue  of 
Berlioz's  compositions.  785 


.S'lY  Poole,  Reginald 


Bach,  Johann  Sebastian. 

Lane;  Spitta,  P. 

Baini,  Oiuseppe. 

Mkmorik    sroRio -c-KiTirin-;    dk.i.i.a  Vita    k 

DEI.I.K    Ol'ERK    ni     GlOVAN.M     PlERLlRJI    DA 

Pai.kstrina. 

Sfi-  Kandler.  783 

Beethoven,  Ludwig'van. 

TlIKMAlTSCIIES     VeRZEICIIMSS     SAMMTI.ICIIER 

iM  Drick  erschienen  Wekke  von  Ll'Il- 
\vi(i  VAN  Heeitkiven.  Leipsic  and  N.  Y., 
Breitkopf  &  Hiirtel,  1S51,  $3.80. 

"  Catalogues  of  Beethoven's  works  were  attempted 
by  Artaria,  Hofmeister,  and  Cranz,  but  the  first  one 
worthy  of  the  subject  was  issued  by  Breitkopf  &  Hiir- 
tel in  1851—'  riiemitisches  I'erzeichniss'  etc.,  large 
8vo,  167  p.  The  second  edition  of  this,  edited  and  en- 
riched with  cojjious  notes,  remarks,  appendices,  in- 
dexes, etc.,  by  Mr.  G.  Nottebohm  (Leipzig,  1868,  pp. 
1,  220),  leaves  little  to  be  desired.  It  is  arranged  in 
the  order  of  the  opus  number  of  the  pieces— where 
they  are  numbered — that  is  to  say,  in  the  order  of  pub- 
lication."—.S';V  licorge  Grove. 

Both  editions  are  occasionally  listed  tn  second-hand 
catalogues.  The  first  edition  may  be  consulted  in  the 
DrexeT  collection,  Lenox  Library,  New  Y(~rk. 

For  Lives  of  Beethoven  see  under  Marx,  A.  B.-  Nohl, 
I..;  Nottebohm,  G.;  Oulibischeft,  A,;  Schindler,  /.; 
Thayer,  A.  \V.  780.943 


Benedict,  Sir  Julius. 

Wehek.  (Great  Musicians  series  of  biogra- 
phies, edited  by  Francis  Hueffer. )  Lond., 
Sampson  Low.     N.  Y.,  Scribner,  176  p.,$i. 

A  well-written  and  authoritative  book  which  derives 
special  interest  from  the  fact  that  the  author  was  a 
pupil  of  Weber.  A  valuable  feature  is  the  descriptive 
catalogue  of  Weber's  compositions.  785 

Berlioz,  Hector. 

At  roKiocRAi'iiv.  From  1S03  to  1S65.  Com- 
prising His  Travels  in  Italy,  Germany,  Rus- 
sia, and  England.  Transl.  by  Rachel  (Scott 
Russell)  Holmes  and  Eleanor  Holmes.  N. 
Y.,   Macmillan,   1S84,  2  vols.,  336,  411  p., 

A  necessary  help  to  a  study  of  the  eccentric  French 
penius,  but  as  a  literary  work  wofully  deficient  in  that 
It  has  no  index  and  few  references  to  dates. 

See  Life  under  Apthorp,  W.  F.  785 

Bombet,  L.  A.  O. 

The  Lii'e  ok  Havdn,  in  a  series  of  Letters 
written  at  Vienna.  Followed  by  The  Like 
OK  Mozart,  with  observations  on  Metasta- 
sio  and  on  the  Present  State  of  Music  in 
France  and  Italy.  Transl.  from  the  French. 
Lond.,  John  Murray,  1817.     O.P. 

A  fascinating  book  but  a  shameless  plagiarism.  The 
original  waspuDlished  in  Paris  in  1814.  The  first  Eng- 
lish edition  appeared  in  1817,  the  second  a  year  later, 
both  in  London.  Reprints  were  published  in  Provi- 
dence in  1820,  and  Boston  in  1839.  Though  claiming  to 
be  original  the  book  is  little  else  than  a  translation  of 
an  Italian  work  entitled  I.c  Haydine  ovvero  Letters 
sulht  i'ita  f  le  O/tere  del  celebre  Maestro  Ciuse/ife 
Haydn,  by  Giuseppe  Carpani,  an  edition  of  which  ap- 
peared in  Milan  in  1812.  Bombet  was  the  pseudonym 
of  Henri  Beyle.  Both  works  may  be  consulted  at  the 
Lenox  Library,  New  York  (Dre.tel  Collection).       785 


Brahms,  J.     .V< v 
land,  J.  A. 


Deiters,  H.,  mul  Fuller-Mait- 


64 


Musical  Biography. 


Oarpani,  Oiuseppe. 

Le  Haydine.  Ovvcro  Letterc  sulla  Vita  e  le 
Opere  del  celebre  Maestro  Giuseppe  Haytin. 
.V(V  Bombet.  '786 

Oherubinl.     Sec  Crowest,  F.  J. 

Chopin.  Ste  Karasowski,  M.;  Liszt,  F, ;  Niecks, 
F. 

Ohrysander,  Friedrich. 

G.  F.  HAndei,.    Leipsic  and  N.  Y.,  Rreitkopf 

&  Hartel,  3  vols.,  viii,  455,  vi,  481,  iv,  224 

p.,  $9.10. 

Vol.  I.  was  published  in  1858,  Vol.  II.  in  i860,  and  the 
first  half  of  Vol.  III.  (all  that  has  appeared)  In  1867.  A 
work  designed  to  be  a  companion  piere  to  Spitta's 
"Bach,"  Jahn's  "Mozart,"  and  Thayer's  "  Beetho- 
ven." Its  completion  is  extremely  doubtful.  It  car- 
ries the  story  of  Handel's  life  down  to  1740  and  to  that 
limit  is  exhaustive,  not  to  say  prolix,  783 

Orowest,  Frederick  J. 

CuERfniNi.     N.  Y.,  Scribner,  115  p.,  $1. 

Conventional  in  style.  Its  chief  claim  to  interest  is 
its  subject.  783 

Cummings,  William  H. 

PrRCELi-     Lond.,    .Sampson    Low.     N.    Y., 

Scribner,  124  p.,  $1. 

Trustworthy  and  necessary  for  the  correction  of 
errors  in  the  early  histories.  783 

Deiters,  Hermann. 

Johannes  Hraiims.  A  Hiographical  Sketrh. 
Transl.  with  additions  by  Rosa  Newmarch. 
Edited,  with  a  preface,  by  J.  A.  Fuller- 
Maitland.  Lond.,  T.  Fisher  Unwin.  N. 
Y.,  Scribner,  iSSS,  viii,  160  p.  $1.50.       785 

Edwards,  H.  Sutherland. 

Rossini  and  the  Modern  Italian  School, 
Lend.,  Sampson  Low.  N.  Y.,  Scribner,  H4 
p.,  |i.  • 

Bright  and  readable.  Donizetti  and  Verdi  are 
briefly  discussed  in  the  concluding  chapters;  there  is  a 
list  of  Rossini's  published  works  in  an  appendix. 

782.5 
Frost,  H.  P. 

Schubert.  Lond.,  Sampson  Low.  N.  Y., 
Scribner,  128  p.,  $1. 

An  adequate  life  of  Schubert  is  yet  to  be  written. 
All  the  biographies  printed  thus  far,  and  they  are  not 
many,  are  short,  and  none  equals  in  literary  manner 
and  interest  the  article  by  the  editor  .n  Grove's  Dic- 
tionary. The  present  book  is  as  full  as  the  ordinary 
biography  and  nas  an  excellent  feature  in  a  chronologi- 
cal catalogue  of  Schubert's  compositions.  A  German 
biography  by  Niggli  included  in  Breitkopf  &  HUrtel's 
"  Musikalische  Vortriige  "  is  to  be  commended  for  its 
contribution  to  our  knowledge  of  the  composer's  habits 
and  private  life.  784 

Fuller-Maitland,  J.  A. 

^LvsTERS  OF  German  Ml'sic.   N.  Y.,  Scribner, 

289  p.,  $1.75- 

The  ablest  volume  of  the  "  Masters  of  Contemporary 
Music  "  series.  Separate  chapters  are  given  to  Brahms, 
Bruch,  Goldmark,  Rheinberger,  one  to  Kirchner, 
Reinicke,  and  Bargiel,  one  to  Joachim  and  Clara  Schu- 
mann, one  to  Hcrzogenberg,  Hofmann,  Bruckner,  and 
Draeseke,  and  one  to  Nicod^,  Richard  Strauss,  Hans 
Sommer,  and  Cyrill  Kistler.  780.943 

Oluck.     See  Newman,  E. 

Qounod,  Charles  FranQois. 

Memoirs  ok  an  Artist.     An  Autobiography. 
Rendered     into    English    by    Annette    E. 
Crocker.     Chic,    Kand,    McNally   &    Co., 
1895,  223  p.,  $1.25. 
5<r  Hervey,  Arthu;.  780.944 


Mozart's  Don  Giovanni.  A  Commentary. 
Transl.  from  the  third  French  edition  by 
Windeyer  Clark  and  J.  T.  Hutchinson. 
Lond.,  Robert  Cocks  &  Co.,  1S95,  144  p., 
3s.  6d,  780.943 

A  commentary  on  Mozart's  master-work,  scene  after 
scene,  not  profound  or  particularly  suggestive  to  mu- 
sicians, but  full  of  affection  and  enthusiasm. 

Qretry,  Andre  Erneste  Modeste. 

MfiMOIRES    OU    ESSAIS    SfR    LA    MUSIQUE.       ISt 

edition,  3  vols.,   17S9.     O.P. 

Versuche  fHER  DIE  Mi'siK.  Im  Auszugeund 
mit  kritischen  und  historischen  Zusatzeii 
herausgegeben  von  Dr.  Karl  Spazier. 
Leipsic  and  N.  Y.,  Breitkopf  it  Hartel, 
1800,  .\vi,  4  \(i  ]).,  paper,  80  c. 

In  these  essays  GriJtry  discusses  his  principles  of 
dramatic  composition.  Both  the  original  and  its  trans- 
lation may  be  consulted  at  the  Lenox  Library,  New 
York  (Drexel  Collection).  782 

Handel,  O.  F.     St-c  Chrvsander,  F. ;  Rockstro, 
W.  S.;  Schoclcher,  V. 

Haydn,  Joseph. 

For  Life  see  Bombet,  L.  A.  C;  Carpani,  G. ; 
Nohi    L.;  Pohl,  C.  F.;  Townsend,  P.  D. 

Hervey,  Arthur. 

Masters  of  French  Music.  N.  Y.,  Scribner, 
1894,  xii,  290  p.,  $1.75. 

Sketchesol  Ambroise  Thomas,  Gounod,  Saint-Sat!n!i, 
Massenet,  Reyer,  Bruneau,  and  notes  on  Joncitres, 
Dubois,  Widor,  Godard.  Paladhile,  Salvayre,  Franck, 
d'Indy,  Faur^,  and  Chabrier.  '780.044 

Holmes,  Ed-nrard. 

The  Life  of  Mozart,  including  his  Cor- 
respondence. New  edition  with  notes  by 
Ebene^er  I'rout.  Lond.,  Novcllo,  Ewer  « 
Co.,  256  p.,  $2. 

"  Holmes  has  arranged  the  essential  portions  of  the 
correspondence  with  intelligence  and  discrimination 
and  has  connected  them  by  a  narrative  built  upon 
previous  notices ;  he  has  thus  produced  a  trustworthy, 
and,  as  far  as  was  possible,  ancxhaustiveaccount  of  Mo- 
zart's life.  ,  .  .  The  result  is  a  work  which  must  be 
considered  us  the  most  trustworthy  and  serviceable 
biography  that  could  be  produced  by  a  skilful  employ- 
ment of  the  materials  generally  accessible.  Holmes 
has  not  attempted  to  draw  from  hitherto  unknown 
sources.  He  neither  carries  his  researches  to  any 
depth  nor  offers  any  original  opinions  or  explana- 
tions."— Otto  Jahn  in  the pre/acf  to  his  Biogia/ihy  0/ 
Mozart.  780.043 

Jahn,  Otto. 

Life  of  Mozart.  Transl.  from  the  German 
by  Pauline  D.  Townsend,  with  a  preface 
by  George  Grove,  D.C.L.  With  portraits 
and  fac-simile  reproductions  of  autographs. 
N.  Y.,  Novello,  Ewer  &  Co.,  3  vols.,  431, 
478,  443  p.,  $12.60. 

In  its  way  the  last  word  on  Mozart.  The  biograph- 
ical part  is  exhaustive  and  all  the  chiel  works  of 
Mozart  are  interestingly  analyzed.  A  monumental 
work.  780.943 

Handler,  Franz  Sales. 

Uher  das  Lehen  und  niE  Wf.rke  des  G. 
PiERHiGi  da  Palestrina,  genannt  der 
Fiirst  der  Musik.  Nach  den  Memorie  sto- 
rico-critiche  des  Abbate  (iiuseppe  Baini, 
Sangers  und  Direktors  der  papstlichen 
Kapelle,  verfasst  und  mit  historisch-krit. 
Zusiltzen  begleitet.  Nachgelassenes  Werk, 
herausgegeben  mit  einem  Vorworte  und 
mit  gelegcntlichen  Anmerkungen  von   R. 


fthy  < 

}.04 


Musical  Biography. 


65 


G.   Kiesewctter.     Leipsic  ami  N.  Y.,  Breit- 

kopf  &  Hiirtel,  1S34,  xxiv,  244  p.  and  index, 

$2.15. 

A  welcome  translation  and  abridgment  of  the  Abbe 
Haini's  famous  work  on  Palestrma,  which  was  published 
in  1828.     Invaluable  in  the  study  of  church  music. 

780.945 

Earasowski,  Moritz. 

Chopin:   Mis   Lii'k,  Lkttf.rs,   and  Works; 

with  two  Essays  on  Chopin  as  a  Man  and  a 

Musician,  and  a  Complete  List  of  his  Works. 

Transl.  from  the  German  by   Emily   Ilill. 

Lond,,   Reeves.     N.   Y.,   Scribncr,   1S79,   2 

vols.,  $5. 

•Until  the  appearance  of  the  exhaustive  work  by 
Niecks  (which  see)  the  best  Chopin  biography.  The 
original  was  published  in  Dresden  by  F.  Ries,  1877,  2 
vols.,  $4.80.  780.043 

Ereiasle,  Heinrich  von. 

Franz  Sciu'hkrt.  Eine  KioRrafische  Skizzc. 
Vienna,  Zamarski  &  Dittmarsch.  1S61. 
O.P. 


von     Heinrich     Kreissle 
Vienna,    Gerold,    1865,    4 


Mozart.    See  Hulmes,  E. 
Pole,  W. 


Jahn,  O.;  Nohl,  L.; 


Franz  ScnrHF.Ri 
von  llellborn. 
florins. 

A  second,  e.xtcnded  edition  of  the  original  biographi- 
cal sketch.  This  was  translated  into  Knglish  by  A.  D 
Coleridge  and  published  in  2  vols,  by  Longman  in  1869 
(O.P.),  with  a  valuable  appendix  in  which  Sir  (then 
Mr.)  George  Grove  gave  an  account  of  the  mss.  of 
Schubert  which  he  and  Mr.  Sullivan  examined  in  \'i- 
enna  in  1867.  Dr.  Kreissle's  biography  has  historical 
value  from  the  fact  that  it  was  the  first  extended  work 
in  the  lield.  780.943 

Lampadius,  W.  A. 

LiKK    <IK     Fk.I.IX      MKNDr.I.SSOIIN-HAUTIIOI.DV. 

Transl.  by  W.   A.  Gage.     Host.,  Ditson  & 

Co.,  fi.25. 

A  standard  work,  written  in  a  spirit  of  affectionate 
sympathy.  780.943 

liiszt,  Franz. 

LiFK  OK  CiiopiN.  Transl.  from  the  French 
by  Martha  Walker  Cook.  Host.,  '>itson,  202 
p.,  Ir.25. 

It  IS  a  misnomer  to  call  Liszt's  poetical,  almost  hys- 
terical essiiy  a  "Life"  of  Chopin  Its  biographical 
material  is  meagre  and  faulty,  but  the  boo!  is  valua- 
ble as  a  study  of  Chopin's  art  by  a  fellow-artist  and 
friend 

For  CoRRKsi'ONnENCE  01-  Wagnkr  and  Liszt  see 
ll'agner  in  Part  VI. 

For  "  Life  of  Liszt  "  see  under  Xohl,  L,  For  "Als 
Kuenstler  und  Mensch "'  see  under  Ramann,  L. 

780.943 

Marx,  A.  B. 

Liiiiwio  VAX  Hf.f.tiiovf.n,  Ledf.n  rxn  Scuaf- 
FF.N.  In  zwei  Theilen  mit  chronologischem 
Verzeichniss  der  VVcrke  und  autograjih- 
ischcn  Hcilagen.  Dritte  Auflage.  mit  lie- 
rUcksichtigung  der  neuestcn  Forschungen 
diirch  gesehen  und  vermehrt  von  Dr.  Gustav 
Hehncke.  Herlin,  Otto  Janke.  N.  Y,, 
Lemcke  &  Huechner.  2  vols.,  365,  456  p., 
paper,  $5.35;  cloth,  |6. 10. 

A  critical  biography  written  with  ardent  sympathy 
and  in  a  sanely  poetical  style,  with  analysis  of  the 
larger  com|)ositions  of  Beethoven  which  give  it  a  place 
not  filled  by  any  English  biography.  780 

GucK  iNi)  niK  Opf.r.     Mit  dem  wohlgetrof- 
fenen  Portrait  Gluck's,  einem  Autographen 
und    vielen   Musik-beilagen.     Herlin,  Otto 
Janke,  18^13,  2  vols,,  464,  390  p.,  I4.20. 
Valuable,  but  prolix.  780.943 

Mendelasohn-Bartholdy,  F.     See  Lampadius, 
W.  A. 


Newman,  Ernst. 

Gi.rcK  and  Till  Opera.  A  Study  in  Musical 
History.  Lor.d.,  Hertram  Dobell.  N.  V., 
Scribner,  1895,  yxt  p.,  I2.40. 

Obviously  intended  to  take  the  place  of  the  German 
•work,  Cluck  unci  tUeO/>er.    (See  .Mar.x.)  782.3 

Niecks,  Frederick. 

Frkdkrick  Chopin  as  a  Man  am>  Mtsician. 
N.  Y.,  Novello,  Ewer  iS:  Co.,  2  vols.,  340, 
375  p.,  Sio. 

A  standard  work,  the  ablest  yet  written  on  the  sub- 
ject, though  unduly  extended  by  dissertations  on  unes- 
sential topics.  Contains  appreciative  and  intelligent 
analyses  and  criticisms  and  a  well-compiled  and  anno- 
tated list  of  Chopin's  published  compositions. 

780.943 

Nohl,  Louis. 

LiVKsoF  Rff.tiioven,  Haypn,  Liszt,  Mozart, 
AND  Wacnek.  Transl.  by  George  P.  Up- 
ton and  John  J.  Lalor.  With  portraits. 
Chic,  A.  C.  McClurg  &  Co.,  5  vols.,  75  c. 
each.  780.943 

Nottebohm,  Oustav. 

Heeiiiovemana.  Aufsiitze  und  Mittheilun- 
gen.  Leipsic,  Rieter-Hiedermann,  1872, 
203  p.,  7  marks. 

ZwEiTE  Heethoveniana.  Nachgelassene 
Aufsiitze.  Leipsic,  Rieter  -  Hiedermann, 
1S87,  X,  590  p..  20  marks. 

Reprints  of  Beethoven's  sketch-bonks,  invaluable  to 
Beethoven  students.  The  second  volume  left  unfinished 
by  Nottebohm  was  completed  by  E.  Mandyczewski. 

780.943 

Oulibischeff,  Alexander. 

Heetiioven,  ses  Critiques  et  ses  Glossa- 
TEiRS.     Paris,  1S57.     O.P. 

Beethoven,  seine  Kritiker  und  seine  Aits- 
i.EdER.  Aus  dem  Franzcisischen  iiberzetzt 
von  Ludwig  Bischoff.  Leipsic,  Hrockhaus, 
1S59.  X.  373  P-     O.P. 

A  polemic  directed  against  Lenz's  "  Beethoven  ei  ses 
trois  styles."    (Sec  Le.nz  in  Part  VIII.) 

NouvEi.LE  Bior.RAPiiiE  DE  MozARi",  suivie  d'un 
aper9U  sur  I'histoire  g6n6rale  de  la  Mu- 
sique.  Leipsic,  Hrockhaus,  1S44,  3  vols. 
O.P. 

Mozart's  Leren  cndWerke  von  Alexander 

On.iHisciiEFF.     Neu    Hearbeitet   und  wes- 

entlich  erweitert  von  Ludwig  Ganitner.     2d 

ed.     Stuttgart,  Ad.    Hecher.    1S64,  4  vols., 

xix,  331,  328.  392,  348  p.     O.P. 

The  historical  "  aperifu  '  in  the  original  attacked  the 

later  compositions  of  Beethoven  ana  provoked  Lenz 

(see  Part  Vlll.)  to  write  his  "Beethoven  et  ses  trois 

styles.-  780.943 

Paine,  John  Enowles,  Editor, 

Famous    Composers     and     Their    Works. 

Host.,  J.   B.   Millet  Co.,  30  parts,  I15.     (In 

6  vols..  I24. ) 

This  work  was  sold  on  subscription.  It  is  serious 
critical  biography  by  well-known  writers,  with  studies 
of  the  growth  of  music  in  various  countries.  The  mu- 
sical illustrations  were  edited  by  Theodore  Thomas 
and  Karl  Klauser  780.0 

Palestrina.    See  Kandler,  F.  S. 


66 


Musical  Biography. 


»lV 


I 


Pohl,  O.  F. 

JosKi'H  Haydn.  Leipsic,  Breitkopf  &  Iiartel, 
2  \(j1s.,  XX,  423,  vii,  3S3  p.,  $6.30. 

The  author  was  librarian  of  the  Gesellschaft  dcr 
Musikfreunde  in  Vienna.  A  residence  of  three  years 
in  London  was  largely  occupied  in  investigations 
touchin);  the  visits  to  that  city  of  Mozart  and  Haydn, 
the  results  he  embodied  in  his  book  "  Mozart  and 
Ha/dn  in  London"  (1867^  He  then  undertook  to  do 
for  Haydn  what  Jahn  (see)  had  done  for  Mozart  and 
Snitta  (see)  for  Bach.  Unhappily  his  Haydn  biogra- 
phy was  unfinished  at  his  death  in  1887,  after  it  had 
carried  the  history  of  the  composer  to  the  end  of  1790; 
but  so  far  as  it  goes  it  is  a  court  of  last  resort  on  all 
questions  of  fact  concerning  the  composer.     780.943 

Pole,  William. 

The  Story  ok  Mo/art's  Rkqi'ikm.  With  a 
fiu-simiU.  Lond.,  Nuvello,  Ewer  &  Co., 
]87<},  ()i  p.,  40  c. 

A  fine  marshalling  of  the  facts  in  the  much  con- 
troverted story  of  the  A'tv«;Vw,  leaving  the  Question 
of  the  exact  extent  of  Mozart's  work  unsettled. 

780.943 

Poole,  Reginald  Iiane. 

Sebastian  Hacii.  Lond.,  Satnpson  Low.  N. 
Y.,  Scribner.  13S  p.,  $1. 

An  excellent  compendium-  a  vast  amount  of  infor- 
mation well  brought  out  and  well  stated.  It  is  one  of 
the  best  volumes  in  "The Great  Musicians"  series, and 
challenges  attention  as  the  first  biography  of  Hach 
written  in  England.  780.943 

Fougin ,  Arthur. 

Verdi  :  An  Anecdotic  History  ok  His  Like 
AND  Wf)RKs.  Transl.  from  the  French  by 
James  E.  Matthew.  N.  Y.,  Scribner,  1887, 
xi,  3oSp.,$2.  780.945 

Purcell.     See  Cummings,  W.  H. 

Ramann,  L. 

Franz  Liszt.  Ai.s  Kcensti.er  i'nd  Ai.s 
Menscii.  Leipsic  and  N.Y.,  Breitkopf  & 
HaneL  18S0,  1887,  and  18(^4.  2  vols,  bound 
in  3,  .xii,  570,  viii,  315,  xii,  531  p.,  $8.20. 

An  exhaustive  work  authorized  by  Liszt,  largely 
written  under  his  supervision,  but  somewhat  hysterical 
in  Its  admiration  and  devotion.  780.943 

Reissmann,  August. 

Life  and  Works  ok  Robert  Schkmann. 
Transl.  from  3d  edition  of  the  German  by 
Abby  Lani{d(jn  Alger.  Lond.,  George  Bell 
iS:  Co.     N.'  Y.,  Macmillan,  276  p.,  %\. 

A  critical  biography,  with  intelligent  discussions  of 
Schumann's  principal  compositions.  780.943 

Rockstro,  W.  S. 

Life  OK  Geor(;e  Frederick  Handel.  With 
introducl(jry  notice  by  George  Grove, 
D.C.L.     N.  Y..  Macmillan,  452  p.  $2.50. 

Trustworthy  and  servicaable.  Contains  a  valuable 
catalogue  of  Handel's  works  and  t<.  genealogical  tree. 

780.943 

Rossini.     .V.^  Edwards,  H.  S. 

Rubinstein,  Anton. 

AuTOBiocRAi'iiv,  1829-18S9.  Transl.  from 
the  Russian  by  Aline  Delano.  Bost.,  Little, 
Brown  &  Co.,  1S90,  viii,  171  ]).,  |i. 

A  Conversation  on  Mrsic.     Transl.  fot  the 
auih(jr  by  Mrs.  J(jhn  V.  Morgan.     N.  Y.,  C 
F.  Tretbar,  146  p.,  %\. 

The  latter  volume  contains  a  frank  confession  of 
Rubinstein  s  attitude  toward  his  contemporaries. 

780.947 


Schindler,  Anton. 

The  Life  of  Beeitioven  ;  including  the  bi- 
ography of  Schindler,  Beethoven's  corre- 
spondence with  his  Friends,  numerous 
characteristic  traits,  and  remarks  on  his 
musical  works,  edited  by  Ignace  Moscheles; 
to  which  is  added  the  Life  and  Character- 
istics of  Beethoven,  from  the  German  of 
Dr.  Heinrich  Diiring.  Bost.,  Ditson,  390 
p.,  81.50- 

A  reprint  of  the  Moscheles  book  of  1841,  with  the  ad- 
dition of  the  preface  to  the  WolfenblUtel  edition  of 
Beethoven's  sonatas  as  translated  for  Dwinht's  Jour- 
nal 0/  Music .,  that  preface  consisting  of  Dr.  Di'iring's 
sketch.  Theoriginalof  Schindler's  "Biographie"  was 
published  in  MUnster  in  1840,  but  Moscheles  took  more 
credit  for  it  than  the  author  when  he  translated  or 
adapted  it  for  the  London  publisher  in  1841.  The  inti- 
mate relations  which  existed  between  Schindler  and 
Beethoven  during  the  last  few  years  of  the  latter's  life 
give  great  worth  lo  the  book  as  an  original  sourceof  in- 
formation Its  value  as  an  authority,  though  fre- 
quently attacked,  has  been  confirmed  by  Mr.  Thayer. 
(See  Thayer,  A.  W.)  780.493 

Schoelcher,  Victor. 

The  Life  of  Handel.  Bost.,  Ditson,  492  p., 
$2. 

The  French  original  of  this  work  has  never  been 
printed.  Schoelcher  was  not  a  musician  but  apoliti- 
cian,  who,  as  a  republican,  was  expelled  from  France 
on  the  accession  of  Napoleon  III  He  lived  in  London 
till  1870,  and  his  book  was  the  fruit  of  an  enthusiasm 
for  Hanflel  created  and  nourished  there.  Though  ex- 
tremely faulty.  It  iongenjoyed  great  popularity  because 
there  was  no  modern  English  biography  of  Handel.  It 
hasnow  been  supplanted  by  Rockstro  s  "Life."  (See 
Rockstro.)  780.943 

Schubert.     See  Frost,  H.  F.;  Kreissle    H.  v. 

Schumann,R.   See  Reissmann,  A. ,  Wasielewski, 
J.  V, 

Spitta,  Philipp. 

Johann  SEBAsriAN  Baih  :  His  Work  ana  In- 
fluence on  the  Music  of  Germany,  16S5- 
1750.    Transl.  from  the  German  by  Clara 

'  Bell  and  J.  A.  Fuller-Maitland.  N.  Y., 
Novello,  Ewer  iS:  Co.,  3  vols.,  656,  721.  and 
419  p.,  $12.     O.B. 

A  monumental  cxampleot  German  thoroughncssand 
devotion.  780.343 

Spohr,  Louis. 

AiMouioc.RAi'iiY.  Transl.  from  the  German. 
Lond.  Longman  1S65  vii,  327,  242  p., 
$3.50.     O.P. 

Conlaining  many  interesting  comments  on  Spohr's 
contemporaries,  especially  Beethoven  780943 

Streatfeild,  R.  A. 

Masteksok  Iiai.i.vn  .Misic     N.  Y.,  Scribner, 

1S95,  270  p..  $1.75- 

Sketches  of  Verdi,  Boito.  Mascteni,  I'uccini,  Leon- 
cavallo, and  a  final  chapter  devoteiTlo  Bazzini,  Sgam 
ball,  Facciu.  and  iilancinelli.  780.945 

Thayer,  Alexander  Wheelock. 

LiJDWiG  VAN  Beeiiioven's  Lkbi'N.  Nach 
dem  Original  Manuscript,  deutsch  bear- 
beitet.  Berlin,  W.  Weber.  N.  Y.,  Lemcke 
&  Buechner,  3  vols.,  3S4,  41O,  519  p., 
paper.  $7. 

The  court  of  last  resort  for  all  nuestions  touching 
the  man  Beethoven;  there  is  no  discussion,  beyond 
the  historical,  of  his  compositions.  Written  in  Eng- 
lish by  an  American,  and  translated  by  Dr.  H  Deiters. 
The  three  volumes  published  respectively  in  1866, 
1872,  and  1879  bring  the  life  of  Beethoven  down  to  the 
end  of  1816.  A  fourth  volume  is  yet  tocome.  The  work 
represents  thirty-five  years  ot  labor  and  its  authority 
IS  indefectible.  780.943 


]\'agnen'ana. 


67 


CiiKoxor.oGisc'UEs  Vf.rzkiciiniss  dkr  Wekkk 
LfDWiG   VAN    Hkktiiovkns.     Herliii,   1S65, 
Ferdinand  Schneider,  viii,  20S  |).     O.P. 
"  A  cataln(;ue  from  a  different  pmnl  of  view  "  (from 
that  published    by  Rrcitkopf  &    HUrtel— see  lUitho- 
lien)  "in  the  order  of   the  production  of  the  worl<s, 
and  embracinjf  those  unpublished  as  well  as  published, 
was  issued  by  Mr.  Thayer  as  a  precursor,  or  nn'iuoire 
/our  serjiir,  to  his  '  Bio(;raphy,'  viz.,  C/ironologisches 
I'erseic/iniss,  etc.  (Berlin,  1865).    It  is  difficult  to  over- 
estimate the  value  of  this  unpretending  list,  which  con- 
tains a  vast  amount  of  information  not  only  before 
inaccessible,  but  unknown  to  students."— .S'/V  frVorvf 
Orot'e.  780.043 

Townaend,  Pauline  D. 

JosKi'ii  Haydn.    Lond.,  Sampson  Low.  N.  Y., 

Scribncr,  124  p.,  $1. 

A  volume  of  "The  Great  Musicians"  series,  edited 
by  Dr.  Francis  Hucffer,  An  unadorned  narrative  of 
facts  without  attempts  at  analysis  or  criticism.  The 
author  is  the  translator  of  Jahn's  "Mozart." 

780.043 

Verdi.    See  Pougin,  A.;  Streatfeild,  R.  A. 

"Wagner,  Richard. 

Part  VI.,  following  this,  is  devoted  to  Wagner. 


Wasielewski,  Joseph  von. 

Like  <m'  Rdhkri'  Sciiimann.  Trans!,  by  A. 
L.  Alger.     Host.,  Ditson,  275  p.,  $1.25. 

The  original,  published  by  Rudolf  Kunze,  Dresden, 
in  1858,  is  a  standard  work.  780.043 

Weber,  Baron  Max  Maria  von. 

Cari.  Maria  VON  Wkhf.k;  the  Life  of  an  Ar- 
tist. From  the  German  of  his  son  by  J. 
Palgrave  Simpson,  liost.,  Ditson,  2  vols., 
302,  358  p.,  $2.50. 

The  German  original  was  published  in  three  vol- 
umes, 1866-1868.  It  is  an  acknowledged  authority. 
The  above  is  an  American  reprint  of  the  English  edi- 
tion, in  which  the  German  original  is  maturially  con- 
densed. 

See  under  Benedict,  Sir  Julius.  780.043 

Willeby,  Charles. 

Masters  ok  Enousii  Mi;sic.     N.  Y.,  Scrib- 

ner,  380  p.,  $1.75. 

Sketches,  not  notable  for  literary  or  critical  strength, 
o(  Sullivan,  Mackenzie,  Cowen,  Parry,  and  Stanford. 

780.042 


PART    VI. 


liii:< 


W  A  G  N  E  R  I  A  N  A  . 


V. 


Benoit,  Oamille. 

TllK     TYI'ICAI,     MOTIVES    OF    "  TlIE    MASTER- 

siNC.ERS  OF  NOremuero,"  a  musical  Comedy 
by  Richard  Wagner.  English  version  by 
J.  IL  Cornell.  A  study  for  serving  as  a 
guide  through  the  score,  preceded  by  a  re- 
view of  the  poetical  work.  N.  Y.,  Schir- 
mer,  48  p.,  50c.  782.2 

Dippold,  Oeorge  Theodore. 

Richard  Wagner's  Poem;  ''The  Ring  of  the 
Nibelung."  Explained  and  in  part  transl. 
N.  Y.,  Holt,  1888,  240  p.,  $1.50.  782.2 

T'inck,  Henry  T. 

Waoner  and  His  Works:  the  Story  of  His 
Life,  wiih  Cruuai.  Commenjs.  With 
portraits.  N.  Y..  Scribner.  2  vols.,  460, 
530  p.,  $4. 

The  oiographical  portion  remarkably  complete, 
clearly  and  forcibly  written,  with  agreeable  variety 
and  picturesqueness.  Facts  carelully  sifted  and  well 
ordered.  The  polemical  and  critical  portions  marred 
by  uncompromising  radicalism  of  statement  and  fre- 
quent instances  of  imperfect  literary  taste.  782.2 

Frost,  William  Henry. 

The  Wacneu  Siorv  Hook;  Firelight  Tales  of 
the  (ireat  Music  Dramas.  Illustrated  by 
Sydney  Richmond  Hurleigh.  N.  Y.  Scrib- 
ner. 1894.  245  p.,  $1.50. 

Mr.  Frost  has  permitted  the  dramasof  Wagner  from 
Tannliiiiiser  io  /'arsifat  to  furnish  him  witli  material 
lor  a  series  of  tales  which  he  has  cast  in  the  form  of 
narratives  to  a  child;  but  he  has  done  with  his  material 
what  every  creative  artist  does  with  the  crude  stuff 
which  he  tinds  at  hand  in  nature.  He  ha»  melted  it 
over,  moulded  it  anew,  enriched  it  with  original  de- 
signs drawn  from  his  own  stores,  and  made  it  subserve 
new  purposes.  His  book  is  most  ingratiating  and  quite 
in  the  spirit  of  Charles  Kingsley.  782.2 

Olasenapp,  Oarl  Friedrich. 

RicHARU  Wagner's  Leben  und  Wirken.     In 


sechs  Btlchern  dargestellt.     Eine  Festgabe 
zum      Bayreuther       HUhnenweihfestspiele 
"  Parsifal."     Neue  vermehrte  Ausgabe  mit 
einem    Namen-  und   Sachregister.     Leipsic 
and    N.   Y.,    Hreitkopf  &    Hartel,    18S2.  2 
vols.,  xii.  403,  552  p.,  |6. 
The  authoritative  biography  of  Wagner.    A  supple- 
ment was  printed  to  the  first  edition  carrying  the  nar- 
rative to  the  year  1882.    A  complete  revision  under- 
taken by  the  author  has  appeared  under  the  title  : 

Das  Lehen  Richard  Wagner's  ;  in  sechs 
Ktlchern  dargestellt.  Dritte  ganzlich  neu 
bearbeitete  Ausgabe  von  "  Richard  Wag- 
ner's Leben  und  Wirken."  Leipsic  and  N. 
Y.,  Breitkopf  &  liartel.  3  vols.,  $10.80. 

782.2 
Heintz,  Albert. 

The  Master- Singers  of  Nvremherg,  by 
Richard  Wagner.  Attempt  at  a  musical 
explanation.  Transl.  from  the  2tl  German 
edition  by  J.  H.  Cornell.  N.  Y.,  Schirmer, 
128  p.,  $1.  782.2 

Hueffer,  Francis. 

Richard  Wagnee..      Lond.,    Sampson   Low. 

N.  Y..  Scribner.  127  p.,  |i. 

In  the  "Great  Musicians  "  series,  edited  by  the  au- 
thor, a  recognized  English  authority.  Contains  a  list 
of  Wagner's  published  works.  782.2 

Jullien,  Adolphe. 

Richard  Wagner,  His  Life  and  Works. 
Transl.  from  the  French  by  Florence  Per- 
cival  Hall.  Introduction  by  P>.  J.  Lang. 
Illustrated  with  14  phototypes  from  origi- 
nal drawings  by  Fantin-Latour,  15  por- 
traits of  Richard  Wagner,  and  113  text 
cuts;  scenes  from  his  operas;  views  of 
theatres,  autographs,  and  numerous  cari- 
catures.    Host.,  J.   H.    Millet  Co.,  2  vols.. 

$10. 

A  critical  biography  written  in  a  sprightly  and  en- 


68 


JVagneriana. 


lertainmK  vein  by  a  distinRuished  French  writer,  an 
enthusiastic  admirer  of  Wagner's  music  and  a  calm  and 
discriminatinK  judKe  of  his  personal  character.  There 
are  evidences  in  tne  translation  of  unfamiliarity  with 
French  musical  terminology  and  Wagner's  works. 

782.2 

Erehbiel,  H.  E. 

Sudif.s  IN  TiiK  Wacnerian  Drama.  N.  Y., 
Harper,  197  p.,  $1.25. 

Contents:   Chap.  I.,  The  Wagnerian  Drama:  its 

Frototypes  and  elements;  Chap.  II.,  "Tristan  und 
solde'  ;  Chap.  III.,  "Die  Meistersincer  von  NUrn- 
berg";  Chap.  IV.,  "  Der  KingdesNibeiungen";  Chap, 
v.,  "Parsifal."  782.2 

Kufferath,  Maurice. 

TiiK  Pausifai.  <if  Richard  WAr.NER.     lllus. 

N.  Y.,  Am.  Publishers  Corporation,  300  p., 

I1.25. 

A  line  study  by  one  of  the  most  scholarly  of  French 
critics.  782.2 

Schure,  Edouard. 

Le  Drame  MrsirAi..  Nouvelle  Edition  auR- 
mentee  d'unc  Etude  siir  "  Parsifal."  Tome 
I.,  La  Musique  et  la  Pofesie  dans  leur  De- 
veloppement  Historique.  Tome  II.,  Rich- 
ard Warner,  son  CEuvre  ct  son  Id6e. 
Paris,  Librairie  Academique  Didier.    Emile 


Perrin,    Librairie-Editeur, 
367  p.,  7  fr. 


1S86,  xxii,  294, 


Das  MrsiKAi.isciiE  Drama.     Transl.  bvHans 
von  Wolzofjen.     3d  ed.    Leipsic,  Reinboth, 
2  vols  in  I,  212,  172  p. 
The  same  work  in  German.  782.2 

Wagenseil,  Johann  Ohristoph. 

De  Sacri  Ro.m.  Imperii  Libera  Civitate 
NoRiBERc.ENSi  CoMME.N TATio.  Accedit,  De 
Germanife  Phonascorum  I'ott  Der  Meister- 
Singtr,  Orijjine,  Prfestantia,  Utilitate,  et  In- 
stitutis,  sermone  vernaculo  Liber.  Altdorf, 
1697.     O.P. 

It  is  to  the  German  chapter  in  this  Latin  treatise  on 
the  city  of  Nuremberg  that  Wagner  is  indebted  for  all 
the  elements  that  are  historical  in  his  comedy  Die 
Meistersingtr  von  Niirnberg.  Considering  its  ape 
and  value  the  book  is  quite  common  in  the  German  sec- 
ond-hand catalogues.  There  is  a  copy  at  the  Lenox 
Library  (Drexel  Collection),  New  York.         780.943 

Wagner,  Richard. 

Richard  Warner's  Prose  Works.  Transl. 
by  William  Ashton  Ellis.  Lond.,  Kegan 
Paul.     N.  Y.,  Scribner. 

Vol.  I.,  1892,  "  The  Art  Workof  the  Future," 
etc.,  xviii,  422  p.,  $6. 

Vol.  II.,  1S93,  "Opera  and  Drama,"  x.x,  416 

p.,  $f). 
Vol.  III.,  1S94,  "The  Theatre,"  xii,  432  p., 


Vol.   IV.,  1895,  "Art  and  Politics,"  xx,  415 

p.,  |6. 

These  four  volumes  belong  to  the  six  in  which  Mr. 
ElliSj  with  the  help  of  the  London  Branch  of  the  Wag- 
ner Society,  intends  to  embodv  an  English  rendering  of 
Wagner's  .omplete  prose  works.  He  has  provided  each 
volume  with  a  preface,  a  summary  of  its  contents,  and 
a  voluminous  index  which  greatly  facilitate  study. 

Richard  Wacner's  Letters,  to  His  Dresden 
Friends,  Theodore  Uhlig,  Wilhelm  Fischer, 
and  Ferdinand  Heine.  Transl.  into  Eng- 
lish, with  a  Preface  by  J.  S.  Shedlock,  and 
an  Etching  of  Wagner  by  C.  W.  Sherborn. 
N.  Y.,  Scribner,  1S90,  \i,'5i2  p.,  $3.50. 

CoRREsroNDEXCE    OF    Wacner    and    Liszt. 

Transl.    into  English,    with    a   Preface    by 

Francis  Hueffer.     Lond.,  \\.  Grevel  &  Co. 

N.  Y.,  Scribner,    18S9,    2    vols.,  xvi,    352, 

340  p.,  $5-     O.P. 

A  new  edition  in  one  volume  is  said  (Jan.,  1897)  to  be 
in  preparation. 

All  these  letters  are  of  inestimable  value  to  Wagner 
students,  but  reference  to  the  correspondence  with  Liszt 
is  made  extremely  difficult  for  lack  of  an  index.  782.2 

Art  Life,  and  Theories  of  Richard  Wac- 
ner.  Selected  from  His  Writings,  and 
Translated  by  Edward  L.  Burlingame. 
With  a  Preface,  a  Catalogue  of  Wagner's 
Published  Works,  and  Drawingsof  the  Bay- 
reuth  Opera  House.  N.  Y.,  Holt,  305  p., 
$2. 
A  brief  Life  of  Wagner  is  mentioned  under  NohL 

Part  V.  782.2 

Weston,  Jessie  L. 

TheLe<;endsofthe Wagner  Drama.  Studies 
in  .Mythology  and  Romance.  N,  Y.,  Scrib- 
ner, 1896,  380  p.,  $2.25.  782.2 

Wolzogen,  Hans  von. 

GriDE  TiiRorcii  the  Mrsic  of  Richard  Wag- 
ner's "The  Ring  of  the  Nibclung."  New 
edition  translated  by  Nathan  Haskell  Dole. 
N.  Y.,  Schirmer,  75  c. 

GriDE    TlIROUC.H    THE     MlSICAI,    MOTIVES    of 

Richard  Wagner's  "Tristan  und  Isolde." 
With  a  Preface  on  the  Legend  and  the  Poem 
of  Wagner's  Drama.     N.  Y.,  Schirmer,  50c. 

GiiDE  TiiRorcH  THE  Mcsic  of  Richard  Wag- 
ner's "  Parsifal."  New  edition  translated 
by  J.  II.  Cornell.     N.  Y.,  Schirmer,  75  c. 

These  are  translations  of  the  authoritative  guiile.i  to 
the  significance  of  the  typical  phrases  out  of  which 
Wagner  constructed  his  latter-day  dramas.  Readers 
who  want  expositions  of  the  dramas  in  addition  to  an 
enumeration  of  the  phrases  are  referred  to  Gustav 
KobbiS's  Richard  Wagner's  "Ring  of  the  Nibelung" 
($1)  and  "Tristan  and  I>i"lde,"  N.  Y.,  Schirmer  (25c.). 

782.2 


Music:  Science  and  .Esthetics. 


69 


PART    VII. 


SCIENCE   AND    /ESTHETICS. 


AmbroR,  A.  W. 

TlIK    HolNDAKIF.S   OF   MfSIC  AM)    I'OKTRV  :    A 

Siii>Y  IN  MisicAi,  iiilsTHF.Tics.  Trunsl. 
from  the  German  by  J.  H.  Cornell.  N.  Y., 
Schirmer,  187  p.,  $2. 

Entertainini;  as  well  as  suRRestivc.  An  answer  to 
Hanslick's  "The  Beautiful  in  Music."  which  sec. 
Free  from  the  ordinary  obscurities  01  metaphysical 
writinK.  and  full  of  illustrations  drawn  from  tne  other 
arts.  It  combats  the  notion  that  feelinKS  arc  neither 
the  aim  nor  the  content  of  music,  but  points  out  the 
limitations  of  musical  expression  and  warns  at;ainst  the 
extravagance  of  descriptive,  or  programme,  music. 

780.1 
Berlioz.  Hector. 

A     TUKATISK    ON   MonF.RN    INSTRT'MF.NTATION 

AM)  Oiuiiksikaiio.n;  to  which  is  appended 
The  Chef  d'Orchestre.      Transl.  by   Mary 
Cowden  Clarke.     New  edition,  revised  and 
edited  by  Joseph  Hennett.     N.  Y.,Novello, 
Ewer  &  Co.,  18S2,  257  P-.  $4-So. 
Has  always  been  the  chief  authority-in  its  depart- 
ment.   The  hook  contains  an  exact  table  of  the  com- 
pass, a  sketch  of  the  mechanism  and  study  of  the  ((uality 
of  tone  and  ejpressive  character  of  the  instruments  of 
the  orchestra  and  a  large  number  of  examples  in  score. 

785 
Broadhouse,  John. 

Musical  Acoistics:  The  SrtiDF.NTs'  IIki.m- 
iioi.rz,   or   The    Phenomena  of   Sound  as 
coniiectei!  with  music.     Lond.,  Reeves.    N. 
Y.,  Scribner,  440  p.,  $3. 
6'<v  Helmholtz.  781.1 

Broekhoven,  John  A. 

A  .SvsTKM  OK  Harmony  for  Tkaciier  and 
Pri'ii.,  with  copious  examples,  practical 
Exercises,  Questions,  and  Indexes.  Cin- 
cinnati, Chicago,  and  N.  Y.,  John  Church 
Co.,  iiS  p.,  $1. 

The  .luthor  is  Professor  of  Harmony  and  Composi- 
tion in  the  College  of  Music  of  Cincinnati.  He  aims  at 
a  simplification  of  the  method  pursued  in  Richter's 
Manual  (see  Richter)  so  as  to  bring  the  science  of  har- 
mony within  the  ken  of  students  ui  the  pianoforte  and 
singing.  781.3 

Bussler,  Ludwig. 

MisiKAi.isciiK  Formf.nleiire.  See  Cornell, 
second  following  title.  781.5 

Oorder,  P. 

The  Orchestra  and  How  to  Write  for  It. 
A  practical  guide  to  every  branch  and  de- 
tail of  modern  orchestration;  including  full 
particulars  of  all  instruments  now  in  use 
and  rules  for  their  combination.  With  nu- 
merous exercises  and  over  200  useful  ex- 
amples from  modern  works.  The  whole 
forming  an  indispensable  manual  for  con- 
ductors and  composers.  Lond.,  Robert 
Cocks.  N.  Y.,  Edward  Schuberth  &  Co., 
i8(/).  III  p.,  $4. 

A  new  work  that  came  to  supply  a  decided  want. 
Features  of  excellent  practical  utility  are  the  rules  for 
writing  for  small  bands,  such  as  are  used  at  dances, 
in  the  theatres,  and  at  watering-places,  and  for  brass 
bands.  In  the  illustrative  examples  the  parts  for  trans- 
posing instruments  are  written  as  they  sound  to  simplify 
study.  A  large  number  of  the  examples  are  taken  from 
compositions  Dy  Wagner  and  the  musicians  of  to-day, 
and  these  are  a  valuable  addition  to  Berlioz's  work  on 
the  same  subject.  (See  Berlioz, "  A  Treatise  on  Modern 
Instrumentation^"  in  this  list.) 


Cornell,  J.  H. 

The  TiiF.oitv  and  PRArTifF  or  MrsiCAi. 
Form  ;  on  the  basis  of  Ludwig  Russler's 
"  Musikalische  Kormenlehre."  For  instruc- 
tion n  Composition  both  in  private  and  in 
classes.     N.  Y.,  Schirmer,  260  p.,  $2. 

"The  aim  of  the  work  is,  in  <me  word,  to  teach  musi- 
cal construction,  and  its  plan  is  perfectly  simple.  Each 
form,  beginning  with  the  very  smallest  uf  the  elemen- 
tary ones,  is  clearly  explained  and  copiously  exempli- 
lieci  ;  the  student  is  then  rcciuired  to  originate  a  musical 
thought  in  the  given  form.' — [From  the  I'refaceJ 

•781.5 

Qevaert,  F.  A. 

NorVEAU  TRAITfi  n'lNSTRrMENTAIION.      Lci"- 

sic  and  N.  Y.,   Ureitkopf  &   Ililrtel,  18S5, 
iv,  339  P-.  $S-      • 

Nei'e  Instri  menten  Lehre.     Ins  Deutsche 
ilbersetzt  von  Dr.  Hugo  Ricmann.     Leipsic 
and  N.   Y.,   Breitkopf  &  HUrtel,   1887,  iv, 
345  p..  $8. 
Modern  and  admirable.  785- 

Oow,  Oeorge  O. 

The  Strlctire  of  Music.  An  elementary 
text-book  on  Notation  and  Harmony  with 
full  illustrations  and  abundant  exercises. 
For  use  in  the  class-room  and  for  self- 
instruction.    N.  Y.,  Schirmer,  200  p.,  f  1.25. 

781.3 
Hanalick,  Bduard. 

The  Beai'tifii,  in  Mrsic  ;  A  Contribution  to 
the  Revisal  of  Musical  /Esthetics.  Transl. 
from  the  7th  edition  by  Gustav  Cohen. 
N.  Y.,  Novello,  Ewer  &  Co.,  174  p.,  $2.40. 

One  of  the  most  gracefully  written  as  well  as  keen- 
est discussions  of  the  nature  and  essence  of  music  ex- 
tant. Dr.  Hanslick  contends  that  music  possesses  no 
means  for  reprcsentmg  definite  feelings.  The  beauti- 
ful in  music,  therefore,  does  not  depend  on  emotional 
expression.  The  content  of  music  is  the  musical  idea, 
which  is  not  only  an  object  of  intrinsic  beauty  but  also 
an  end  in  itself,  not  a  means  for  representing  feelings 
or  thoughts.  In  reply  see  Ambros's  "The  Boundaries 
of  Music  and  Poetry  "  in  this  list.  780. 1 

Haupt,  August. 

Theory  of  Counterpoint,  Fugue,  and 
Doiiii.E  CouNTERl'oiNr.  Prepared  ex- 
pressly for  the  Royal  Institute  for  Church 
Music  at  Berlin.  Transl.  from  the  original 
manuscript  by  H.  Clarence  Eddy.  N.  Y., 
Schirmer,  79  p.,  $1.50. 

An  extremely  sententious  set  of  rules  which  seem 
to  have  been  written  more  for  the  guidance  of  a  teacher 
than  for  study  by  a  pupil.  781.4 

Hauptmann,  Moritz. 

The  Nature  of  Harmony  and  Metre. 
Transl.  and  edited  by  W.  E.  Heathcote. 
N.  Y.,  Novello,    Ewer'&  Co.,   1SS8,  352  p., 

S3. 

A  philosophical  explanation  of  the  received  laws  of 
music  derived  from  one  all-pervading  or  fundamental 
law  whose  gradual  embodiment  is  manifest  in  the  his- 
torical evolution  of  the  art.  781.3 

Helmholtz,  H.  L.  F. 

On  the  Sensations  of  Tone,  as  a  Physio- 
logical Basis  for  the  Theory  of  Music. 
New  English  edition,  translated,  thorough- 


70 


Musical  Criticism  ami  Annlvsis 


ly  revised  and  corrected.  With  numerous 
ndditiiina!  notes  and  a  new  aciditinn.il  Ap- 
pendix, specially  adapted  to  the  use  of 
inusicai  students,  l)y  A.  J.  Kllis.  With  M 
figures  enKraveii  on  wood  and  42  (lassa^es 
in  musical  notes.  N,  Y,,  Lungniuns,  f<).5<>- 
St-e  Hruadhouse.  781>1 

JadasHohn,  8. 

A  Mam  Ai.  of  IIarmo:;y.  Transl.  from  the 
third  augmented  and  carefully  revised  (ier- 
man   edition   by    Dr.    Th,    Baker.     N.   Y  , 

Schirmer,  292  p.,  $2. 

The  author  is  the  most  distinguished  pcd.iR<>KUc  in 
the  Faculty  of  the  Conservatory  of  Lcipsic,  a  clear, 
strong,  logical,  and  scicntitic  thinker  and  leasuncr 

781.3 
Krehbiel,  H.  E. 

How  TO  LisTKN  TO  Music,     N.  Y.,  Scrihner 
i8(/),  .vv,  361  p.,  $1.25. 

Contents  :  Introduction,  settini?  forth  that  the  book 
is  not  for  professional  musicians,  hul  foruniauKlit  lev 
ers  of  music:  Recognition  of  Musical  Elements  Con 
tent  and  Kinds  of  Music  '  The  Modern  Orchestra  At 
an  Orchestral  Concert ;  At  a  Pianoforte  Recital  ,  At  the 
Opera  .  Choirs  and  Choral  Music ,  Musician,  Critic,  and 
Public 

Illustrations  comprise  simple  explanatory  music, 
conductor's  core,  and  orchestral  instruments.     780.4 

.^ullak,  Adolph. 

The  ^sthkttcs  of  Pianoforte  Pi.ayino. 
Transl.  by  Dr.  Th.  Maker,  from  the  thirtl 
German  edition,  revised  and  edited  by  Dr. 
Hans  Bischoff.     N.  Y.,  Schirmer,  328  p.,  $2. 

A  most  admirable  book,  suggestive  alike  to  pianist, 
critic,  or  mere  lover  of  the  art.  Its  most  grievous  de- 
tect lithe  Teutonism  of  the  translator's  English.  The 
author  discusses,  at  the  outset,  the  nature  and  limita 
tions  of  the  pianoforte's  tone,  then  the  history  of  its 
technical  manipulation,  the  "methods''  of  C.  P.  E. 
Bach,  Cramer,  Hummel,  Kalkbrenncr,  Czerny,  De 
Kontski,  Theodore  and  Adolph  KulIak,P1aidy.  Kohler, 
Thalberg,  and  Riemann,  and  then  presents  his  theories 
as  to  technique,  time,  rhythm,  accentuation,  dynamic 
expression,  and  poetical  content  in  pianoforte  music 

786.3 
Pole,  William. 

The  Phii.osopiiy  ok  Mfsrc;  being  the  sub- 
stance of  a  Course  of  Lectures  delivered  at 
the  Royal  Institution  of  Great  Britain,  Feb- 


ruary and  March   1S77.     3d  edition  revisecl 
I.onii..  Kegan  Paul.     N.  Y..  Scribner,  l8(ji, 

7,2^  p  .f:.. 

Entirely  trustworthy  781 

Prout,  Bbenezer. 

CorNiEKPiiiN  r :  .SiKirr   anh    Fkee.     I.ond., 
Augeiier.     N.  Y.,  Schuberth   249  p.,  $2. 

781.4 

Harmony:  Its  Theory  and  Practice.    I.ond., 
Auyener.     N,  Y.,  Schuberth,  254  i),.$2. 

781.3 

Fi'd'E.     I.ond.,  Augener.     N.  Y.   Schuberth. 


245  P..52. 

DoiMI.E  CofNTERI'OINT    AM)    CaNON. 

Augener.     N.  Y.,  Schuberth.  $2. 


MisK'Ai,    Form. 
Schuberth.  §2. 


Lend.,    Augener. 


786.86 

I.ond.. 
781.4 

N.  Y.. 
781.6 


INSTRI'MENIAITON.  I.ond.  and  N.  Y,.  Novel- 
lo,  Ewer  &Co.,  144  p  ,  75  c.  781.6 

Riohter,  Ernst  Friedrich. 

Maniai.  OF  Harmony  ,  a  Practical  Guide 
prepared  especially  for  the  Conservatory  of 
Music  at  Leipsic.  Translated  from  the 
latest  German  edition  by  John  P  Morgan. 
17th  edition.  N,  Y..  Schirmer,  1896,  219  p., 
$2, 

For  forty  years  this  has  been  recojfnijtcd  as  a  stand 
ard  work.    A  proof  of  its  wide  popularity  is  that  it  h.-'S 
t>een  iranslated  into  English,  Dutch,  Swedish,  Russian, 
Polish,  and   Italian      Mr.   Morgan's  translation   was 
made  in  1867  from  the  fifth  German  edition,  and  the 

6 resent  is  reprinted  iruin  the   original  plates.    (See 
roekhoven.)  781.3 

Tyndall,  John. 

SocM).      3d    edition    revised   and    enlarged. 
N.  Y..  Appleton.  1S77,  44S  p..  $2. 
Always  an  authority  781.1 


Zahm,  Rev.  J.  A. 

SoiNi)  AND  Mrsir.     Illus, 
1S92,  452  p.,  $2.50. 


Chic,  McCIurg, 
781.1 


PART    VIII. 


CRITICISM    AND   ANALYSIS. 


.Apthorp,  William  F. 

Mt'SICIANS    AND    Mt'SIC    LoVERS,    AND   OTHER 

Essays.     N.  Y.,  Scribner.  346  p.,  $1.50. 

Criticism  with  an  agreeable  literary  flavor,  the  re- 
flections and  conclusions  of  a  studious  man  and  an  ex- 
perienced judge.  Two  of  the  essays  discuss  the  rela- 
tionship between  the  art,  the  musician,  the  critic,  and 
the  public.  The  remainder  are  mostly  critical  biog 
raphy,  the  subjects  being  Bach,  Meyerbeer,  Offenbach, 
Franz,  Dresel,  and  Dwight.  780.4 

Chorley,  Henry  F. 

Thirty    Y'ears'    Mi'sicai,    Recollections, 
Lond.,    Hurst  &    Blackett,    1862,    2   vols. 
XV,  312.  323  p.     O.P.  780.4 

Music  and  Manners  in  France  and  Ger- 
many. A  Series  of  Travelling  Sketches  of 
Art  and  Society.  Lond.,  Longmans,  1S41, 
3  vois,,  301,  302,  290  p.     OP.  780.944 


Modern  German  Mcsic.  Lond.,  Smith,  El- 
der &  Co..  i8';4,  2  vols,  in  i,  371,  41S  p. 
O.P.  780.943 

The  author  was  for  over  thirty  years  musical  re- 
viewer for  the  Atlientruni.  His  criticisms  are  not 
free  from  unreasonable  prejudice,  and  the  significance 
of  the  new  romantic  movement  never  dawned  on  him, 
but  he  was  frank,  honest,  and  controlled  an  interesting 
style.  "  Modern  German  Music  "  is  a  reprint,  with 
additions,  of  the  best  of  his  writings  in  "  Music  and 
Manners." 

Ourwen,  John  Spencer. 

SiiDiKs  IN  Worship  Mrsic.  ist  Series. 
Chiefly  as  regards  Congregational  Singing. 
2d  edition,  revised  and  enlarged.  Loncl., 
J.  Curwen  &  Sons.  N.  Y.,  Scribner,  1888, 
viii,  507  p..  S2. 

Sti'dies    in    Worship    Music.      2d    Series. 


Musical  Criticism  and  Analysis, 


71 


781 


I.ond., 
$2. 
781.4 

I.und.. 


I.oikI.. 
781.4 


Lond.,    |.  Curwcn   it   Suns.      N.  Y.,  Scril)- 

IHT,    1SS5.   208   p.,   $1.25. 

The  second  scries  contains  brief  accounts  of  the 
Cliaptl  Royal  and  the  Choir  Sth^tolf'  o(  Westminster 
Abbey  and  St.  Paul's  ("athcdral.  The  first  ha;  an  ex- 
cellent bibliui;ruuhy  uf  Protestant  church  music. 

783.0 

De  Lenz,  W.    .See  I.l'iiz. 

Edwards,  H.  Sutherland. 

TilK  LvRiiAi.  I)k.\m.\.  Kss.nys  on  Suhjcrts, 
Ciimposers.  and  Executants  of  Modern 
Opera.  Lond.,  W.  II.  Alien  i'<:  Co.,  1881, 
2  vols.,  31C),  312  p.      O.P, 

Rnlertainin((,  but  not  to  be  taken  too  seriously  is 
criticism. 

CosTKNTs  •  Opeiatic  Origins;  History  o(  Her  Majes- 
ty's Theatre;  Covent  Garden  and  the  Royal  Italian 
()pcra;  The  Romantic  and  the  Necromantic;  Lyrical 
.-nd  Dramatic  Subjects,  The  picturesque  side  oi  the  "3on 
Juan  LeKend;  The  Original  Don  Juan;  Don  Juan  in 
Italy,  France,  and  EnKland;  Molitre's  Don  Juan;  Mo- 
zart s  Don  Juan  described  by  Hoffmann;  Alfred  dp 
Musset's  Don  Juan;  Poushkin's  additional  scene  for 
"  Kaust "  and  new  last  act  for  "Don  Juan";  The 
Faust  of  Historj-  and  of  Legend;  How  Dr.  Faust  he- 
came  a  dancer;  The  Operatic  Faust;  The  Flying  Dutch- 
man. TannhUuscr:  I.ohenBrin;  Robert  the  Devil;  Mey- 
erbeer smce  "Robert  le  Diablfc",  Verdi,  and  I'our  of 
bis  Operas;  Aida  and  the  Manzoni  Requiem;  Some  of 
Rossini'3  Works;  Donizetti  and  Rellmi;  The  Mignon 
and  Hamlet  of  Ambroisc  Thomas;  Shakespearian  Ope- 
ras. Carmen;  The  ever-popular  Martha;  An  Operatic 
Centenary.  Decline  and  Fall  of  the  Tenor;  Extinction  of 
the  Ballet;  Operatic  Management;  Musical  Agents; 
Libretti;  Operatic  and  Theatrical  Anomalies;  The  Lit- 
erary Maltreatment  nf  Music;  Dictionaries  of  Music; 
Grove's  Musical  Diciionarv;  Quartette  Concerts  and 
the  Classical  in  Music;  Reasonableness  of  Opera; 
Tatra  FUred,  and  the  Music  of  the  Hungarian  Gypsies; 
The  Byeways  of  Bookmaking.  780.4 

Bhlert,  Louis. 

Fko.m  TiiR  ToNF  World  ;  a  .Skriks  ok  Es- 
.sAYs.  Transl.  from  the  German  bv  Helen 
I).  Tretbar.  2d  ed.  N,  Y.,  C.  F,  tretbar, 
307  P-.  $1-50. 

Criticism  by  one  of  the  most  delightful  writers  on 
music  that  Germany  has  produced  —  a  musician  of 
keen  discernment,  of  warm  love  for  his  art,  and  withal 
a  master  of  a  poetical  and  sympathetic  literary  style. 
The  second,  undated,  edition  was  published  in  1803, 
and  contains  essays  on  Brahms,  Wagner's  "  ParsifaV' 
and  Liszt  as  a  litterateur,  which  are  not  in  the  first 
edition.  Of  special  value  are  the  essays  on  "Tristan 
und  Isolde,"  the  Bayreuth  festival,  "  Parsifal," 
"Schumann  and  His  School,"  "Chopin,"  and 
"  Brahms."  780.4 

Ella,  John. 

Mi'sicAi,  Sketches  Abroad  anp  .\t  Home. 
With  original  music  by  Mozart,  Czcrny, 
Graun,  and  others.  Vocal  Cadenzas  and 
other  Musical  Illustrations.  3d  ed.  re- 
vised and  edited  by  John  Kelcher.  N.  Y., 
Schuberth,  1878,  xx,  440  p.,  $2.75. 

A  collection  of  notes,  historical,  biographical,  critical, 
and  anecdotical,  written  by  Prof.  Ella  for  the  Recorii, 
which  he  published  in  connection  with  his  chamber 
concerts,  or  "  Musical  Unions,"  as  he  called  them. 

780.4 

Elterlein,  Ernst  von. 

Beethoven's  Svmi'iionies  in*  their  Ideal 
Significance  Explained.  Transl.  from  the 
German  with  the  Author's  approval  by 
Francis  Weber.  With  an  account  of  the 
facts  relating  to  Beethoven's  Tenth  Sym- 
phony. Lend.,  Reeves.  N.  Y.,  Scribner, 
118  p.,  %\  50.  785.1 

Beethoven's  Pianoforte  Sonatas.  Ex- 
plained for  the  Lovers  of  Musical  Art. 
Transl.  from  the  German  by  E.  Hill.  With 
a  Preface  by  E.  Pauer.  Lond.,  Reeves.  N. 
Y.,  Scribner,  118  p.,  $1.50.  786.41 


Finck,  Henry  T. 

Ciiiti'iN  AND  OiiiKR  Essays.  N.  Y.,  Scrib- 
ner, I1.50. 

CoNTHNTs  •  Chopin,  the  Gre.itcst  Genius  of  the 
Pianofoile;  How  Comiposits  Work  .  Schumann  as  Mir 
rored  in  his  Letters;  MuhIc  and  Morals,  Italian  .ind 
German  Vocal  Styles;  German  Opera  in  New  Vurk 

780.4 
Orova,  .SVr  Oeorge. 

Ukf.iiiiiven  am>  His  N'ink  Swiiicimes. 
Lond.  and  N.  Y.,  Nuvcllo,  I'.wtr  iV  Co., 
4CX)  p.,  $2.40. 

The  analyses  of  Beethoven's  Symphonies  which  ap- 
peared for  many  years  in  the  programme  books  ol  the 
Crystal  Palace  Concerts  over  the  signature  |G1.  wore, 
as  every  English  music-lovcr  knows,  wnttin  by  Sir 
George  Grove.  They  have  been  reprinted  many  times 
and  must  stand  as  the  most  suggestive  and  interesting 
popular  commentaries  of  their  kind  ever  written.  In 
this  volume,  published  in  1896,  Sir  George  has  gathered 
thtm  together,  extended  some  of  them,  and  atipendcd 
notes  and  interesting  historical  data  touching  the  com- 
posilion  of  the  works  and  their  early  performances 

786.1 

Hadow,  W.  H. 

SriDiEs  IN  Modern  Mcsic  With  Portraits. 
N.    Y.,    Macmillm,    2    vols.,    335,    312  ])., 

$4-5'). 

Chiefly  taken  up  with  critical  biography,  written 
with  discernment,  independence,  and  forcefulness,  and 
in  an  agreeable  style.  The  first  series  treats  of  Berlioz, 
Schumann,  and  Wagner ;  the  second  of  Chopin,  Dvorak, 
and  Brahms.  The  opening  essjiy  {>f  thehrst  scries  is  de- 
voted to  Music  and  Musical  Criticism  ;  of  the  second  tO' 
a  study  of  the  Outlines  of  Musical  Form.  These  es- 
Siiysare  ingenious  efforts  to  discover  a  basis  for  judg- 
ment on  musical  art-wurks,  and  are  valuable  for  their 
suggestiveness.  780.4 


Hanslick,  Eduard. 

Al^S  DEM  CONCERISAAL, 

1870.  534  p..  $4- 


Vienna,  Hraumllller, 


Die  Moderne  Oi'er.  Berlin,  A.  Ilofmann  & 
Co.,  1875.  341  p.     O.P. 

MirsiKAi.isniE  Stationen.  2d  ed.  Berlin, 
AUgemeiner  Verein  fllr  Deutsche  Litera- 
tur',  1885,  361  p.,|i.8o.  (Part  H.  of  Die 
Moderne  Oper.) 

AtS  DEM  Oi'erni.eken  der  Gec.enwart. 
Berlin,  Ail.  V.  filr  D.  L.,  1885.  (Part  HL 
of  Die  Moderne  Oper),  379  p.,  $1.80. 

SfiTE.  Aufsiitze  Ubcr  Musik  und  Musiker. 
Wien,  Prochaska,  1885,  291  p.,  $2.25. 

Misikalisches  Skizzenbitch.  3d  ed.  Ber- 
lin. All.  V.  filr  D.  L.,  1888.  (Part  IV.  of 
Die  Moderne  Optr),  335  p.,  $i.So. 

Mt;siKALiscHESiJNi)LnTERARiscnES.  Berlin, 
All.  V.  filr  I).  L.,  i88().  (Part  V.  of  Die 
Moderne  Oper),  359  p.,  $i.So. 

CONCERTE,     COMPONISTEN,      UNI)     VlRTfOSEN, 

der    letzten    filnfzehn    Jahren    1870-1885. 
Berlin,  All.  V.  filr  D.  L.,  1887, 447  p. ,.$2.40. 

Ai's  DEM  Tagebuche  FINES  MusiKERS.  Ber- 
lin, All.  V.  filr  D.  L.,  1892,  (Part  VI.  of 
Die  Moderne  Oper),  360  p.,  $1.80. 

FienfJahreMusik(i89I-i895).  Berlin,  All. 
V.  fllr  D.  L..  1896.  (Part  VII.  of  J)ie  Mo- 
derne Oper),  402  p.,  $r.8o. 

Reprints  of  the  critical  feuiUetons  of  the  cleverest, 
'wittiest,  and  most  genial  of  modern  German  critics, 
who  has  been  on  the  staff  of  the  Neue  Freie  Presse 
since  1864,  and  Professor  of  Music  at  the  University  of 
Vienna'since  1861.  He  has  been  long  the  leader  of  the 
opposition  to  Wagner,  his  theories  of  the  capacity  of 


7» 


Musical  Criticism  anJ  Analysis. 


musical  e.xprcmion  belne  incnntiittent  with  the  ino<lern 
tendency.  (Sue  ManiUcK.  Tht  htauti/vl  in  Muiic,  in 
Part  Vlt  )  In  1894  Dr.  Haniiick  publinhed  un  autubi- 
ography  under  the  title : 

Ai'<t  Mkinkm  Lkiikn  (1  voIn.,  Herlin,  All.  V.  lUr 
D.  I-.).  Sec  alM)  Hansi.ick,  Uttchichit  Jti  Cumifrl- 
wutHt  in  H'itH  In  I'art  II.  780.043 

Henderaon,  W.  J. 

Prkmuks  and  SrrniEs  :  Musical  Themes  of 
Ihe  Uay.     N.  Y.,  Lonxmuns,  245  p.,  $t. 

A  bookot  crticiim,Rui(Kciitivc,  inHlructiv>>,  and  tilled 
with  the  charm  i)f  kikhI  litcruturc.  Ahou'  halt  the  vol- 
ume IS  devoted  to  WaKner  and  his  latter-day  works  ; 
the  rest  to  a  study  of  the  evolution  of  pianoforte  music 
and  a  sympathetic  essay  on  Schumann  and  the  pro- 
Krammc  symphony.  780.4 

iHoImei,  Edward. 

A  Kamiii.k  Amont,  the  Mt'siriANS  or  Gkk- 
MANV.  (jivinu  some  Account  of  the  Operas 
of  .Munich,  I)resilen,  Merlin,  and  other 
cities,  with  Kemarl<s  ujxin  the  Church 
Music,  .Singers,  Performers,  and  Compo- 
sers ;  and  u  sample  of  the  Pleasures  and 
Inconveniences  that  await  the  Lover  of  Art 
on  a  similar  Excursion.  Hy  a  Musical 
Professor.  Lond.,  Hunt  &  Clarke,  1828, 
286  p.     O.P. 

A  charminK  record,  by  an  acute  observer  and  lively 
chronicler,  of  a  tour  in  Germany,  undertaken  in  or  be- 
fore 1837.  780.943 

Klecxynaki,  Jean. 

Chopin's  Grkatkr  «Vorks  (Preludes,  Hal- 
lads.  Nocturnes,  Polonaises,  Mazurkas). 
How  they  should  be  understood.  Includ- 
ing Chopin's  Notes  for  a  Method  of  Meth- 
ods. Transl.  with  additions  by  Natalie 
Janotha.     N.  Y.,  Scribner,  115  p.,  81.75. 

786.3 
Eretzschmar,  Hermann. 

FOlIRKR  DL'RCll    IiKN    CoNCF.RTSAAI,.       Leipslc, 

Liebeskind,  3  vols.  I.,  Sinfonie  und  .Suite; 
II.,  Kirchliche  Werke;  HI.,  Oratorien  und 
Weltliche  Chorwerke.  313,  380,  379  p., 
$5.50. 

Analyses  with  thematic  illustrations;  concise  and 
admirable.  780.043 

Xa  Mara  (Marie  liipsiui). 

Thoughts  of  Grkat  Musicians.  From  the 
original  German  by  C.  P.  S.  Lond.,  Au- 
gener.     N.  Y.,  Schuberth,  80  c. 

The  original,  Gedanktn  berUhmter  Mutiker  Uber 
ihre  Kunst,  is  a  useful  and  well-classilied  collectfon  of 
utterances  by  eminent  musicians  touching  their  art. 
The  English  version  presents  a  smaller  number  of 
quotations,  and  the  translation  is  not  impeccable. 

780.2 
lienz,  W.  de. 

Beethoven  et  ses  trois  styles.  Analyses 
des  Sonatas  de  Pianoforte  suiviesde  I'Essai 
d'un  Catalogue  critique,  chronologique  et 
anecdotique  des  Oiuvres  de  Beethoven. 
2  vols.,  800  p.  Brussels,  Schnee.  Also  St. 
Petersburg  and  Paris.     O.P. 

Largely  rhapsodical,  but  inspired  by  genuine  enthu- 
siasm lo'  Beethoven's  genius  and  well  calculated  to 
firomote  appreciation  of  bis  works.    (See  Oulibischefl 
oPartV.)  780-043 


Neltzcl,  Otto. 
Dk.r  Fieiirer  durch  die  f)rER  PES  Theaters 
DER  Ge(;en\vart.     Te.\t,  Musik,  und  Scene 
erlUuternd.      Leipsic,    Licl)e8kind,    iSi;o,    I 
vol.  in  3  parts,  vi,  2S(i,  2fMJ  p.,  §4.80. 
Excellent  analyses  of  German  operas.  7823 

Parry,  O.  Hubert  H. 

The  Art  ok  Misic    N.  Y.,  Appleton,  374  p., 

I4. 

A  scries  of  thoroughly  admirable  essays  on  the  art 
of  music  and  its  historical  growth,  free  from  biogruplii- 


cal  detail,  scientific  in  spirit  and  sound. 


n^ 


80.4 


Pfohl,  Ferdinand. 

Die  Moderne  Oper.     Leipsic,  Carl  Reissner, 
1894,  401  p.,  $2.10. 

The  author  is  one  of  the  most  efficient  newspaper 
critics  of  Germany,  and  has  been  on  the  staff  of  the 
lliimhurner  .Viu'^r/cA/cn  since  i8qi.  His  book  deals 
chiefly  with  the  operas  ot  thk  las  decade  or  two,  the 
chapters  bearing  the  headings  I.,  Modern  Opera;  II., 
Peter  Cornelius  and  his  "  llarbcr  of  Dagdad";  III., 
Latterday  Romanticism  and  the  Afterbloom  of  grand 
opera;  IV..  Verdi;  V.,  Veritism  and  its  train;  VI., 
Comic  Opera;  VII.,  The  Popular  <r<;/>tj<A«//i//V/«-; 


Tendency 


7811 


Schumann,  Robert. 

Misic    and  Mi'sicians.     Essays  and    Criti- 
cisms.    Transl.  by  Fanny  Raymond  Ritter. 
5th   edition.      N.    Y.,    Schuberth,    1895,    3 
vols.,  $5.50. 
An  English   version  of   Schumann's    Gesammelte 

Schri/ten.  780.4 

Streatfeild,  R.  A. 

The  Opera.  A  sketch  of  the  Development 
of  Opera,  with  full  descriptions  of  every 
work  in  the  Modern  Repertory.  With  an 
Introduction  by  J.  A.  FuUer-Maitland. 
Lond.,  John  C.  Nimmo.  Phila.,  J.  B.  Lip- 
pincott  Co.,  1S97,  336  p.,  $2. 
Well  written  and  trustworthy.  782 

Teetgen,  Alexander. 

Beethoven's  Symphonies 
CUSSED.     With    Preface 
house.     Lond.,   Reeves. 
118  p.,  $1.50. 

Thibaut,  A.  F. 

Purity  in  Music. 
Lond.,  Reeves. 
$1.25. 


Critically  Dis- 

by    John    Broad- 

N.  v.,  Scribner, 

786.1 


Transl.  by  J.  Broadhouse. 

N.  Y.,  Scribner,   103  p., 

780.1 


Upton  Oeorge  P. 

The   Standard   Cantatas 
music,  and  composers. 


their    stories, 


their  plots,  music. 


The  Standard  Operas 
and  composers. 

The  Standard  Oratorios  :  their  stories, 
music,  and  composers. 

The  Standard  Symphonies:  their  stories, 
music,  and  composers.  Chic,  A.  C.  Mc- 
Clurg  &  Co.,  4  vols.,  $1.50  each.         780.4 


Music. 


73 


7823 


PART  IX. 


ENCYCLOP^.DIAS   AND    DICTIONARIES. 


782 


Banlater,  Henry  O. 

Mi'sic.     N.  Y.,  Unit,  325  p.,  So  c. 

A  handbook,  mnst  admirably  arrunKed,  with  defini- 
tions at  once  terse  and  luminous.  It  ou^ht  to  be  at  the 
elbow  uf  every  reader  of  musical  'criticism  or  analysis. 

780.2 

Champlin,  John  Deniaon,  /;-.,   und  Apthorp, 
WiUlam  F. 

CVCI.DI'.KDIA  OK  Mi'SIC  AND  Ml'SICIANS.     With 

more  than  1000  illustrutiutis.  N.  Y.,  Scrib- 
ncr,  3  vols.,  $15. 

A  commendable  feature  is  the  guide  to  musical  litera- 
ture embodied  in  the  work.  An  iuiition  lie  luxe  of  550 
numbered  copies  with  decorated  parchment  binding, 
3  vols.,  quarto,  $75.  780.3 

Clement,  Felix,  ami  Larousne,  Pierre. 

Di(  rioNNAiRK  i>Ks  Oi'ftKAs  (Dictiontiairc 
lyriijuc)  contenant  I'analyse  et  la  nomen- 
clature (le  tous  les  opC-ras  et  opferas- 
comiques  repr6sent6s  en  France  et  a  I'ttran- 
ger  (lepuis  I'origine  de  ce  jjenre  d'ouvra^es 
jusqu'si  nos  jours.  Compl6t6  par  lies 
Suppl6ments  p6riodiques  maintenant  &  cet 
ouvraRe  un  caract^re  d'actualit6.  Paris,  Ad- 
ministration du  grand  Dictionnaire  univcr- 
sel.  N.  V,,  Lemcke  &  Uuechner,  952  p., 
$7.  780.3 

Orove,  Sir  Oeorge. 

DlCTIO.NARY    OK    Mi'SIC   AND    MfSICIANS    (A.D. 

1450-1889),  by  eminent  writers,  English 
and  foreign.  Illus.  Appendi.x  edited  by 
J.  A.  FuUer-Maitland.  Illus.  N.  Y.,  Mac- 
millan,  5  vols.,  ^25. 

The  only  really  comprehensive  encyclopedia  ol 
music  m  English.    Frequently  faulty  in  statement  (the 


appendix  is  chiefly  occupied  with  corrections)  and  not 
always  well  balanced  in  its  estimate  of  the  musical 
activities  of  the  different  peoples  of  the  worlds  yet  un 
Indispensable  book  of  reference  to  the  serious  student. 

780.3 

Mendel,  Hermann,  and  Reiumann,  A. 

MiSIKAI.lSCIIKS    CoNVKKSAIlnNs-LK  .\irON. 

Eine  EncyklopUdie  der  Gesammten  Musik- 
alischen    Wissenschaften.     Merlin,    R,   Op- 
penheim.  1.H70-1882,  12  vols.,  marks  88.50. 
The  most  complete  and  scholarly  musical  eneyclo- 
pcedlaever  undertaken  in  German.     Dr.   Mendel  car- 
ried It  on  to   the  letter  M    in  Vol.  VII.    (he  died  in 
■  876).    After  his  death  Herr  Keissmann  undertook  the 
editorship.     List    &    Francke,  of    Leipstc,  began    the 
issue  of  a  cheap  edition  in  1894,  3  v,,  pap.,  40  marks, 
N.  Y.,  Schubcrth,  $ia,8o.  780.3 

Riemann,  Hugo. 

Misik-Lkxikon.  4th  edition.  Leipsic,  Ma.K 
Hesse,  1894,  1210  p..  12  marks. 

Of  this  admirable  work  an  English  translation  by  J. 
S.  Shedlock  has  been  published  in  14  parts  by  Augener 
in  London  (N.  Y.,  Schuberth),  each  part  40  c.;  1  vol., 
cl.,  $6. 

OpKHN-HANnnucH.  Repcrtorium  der  Dra- 
matisch  -  musikalischen  Literatur  (Opern, 
Operetten,  Ballette,  Melodramen,  F'anto- 
mimen,  Oratorien,  dramalische  Kantaten, 
etc.).  Leipsic,  C.  A.  Koch,  iSS;,  743  p., 
$4.80.  780.3 

Stainer,  Sir  John,  and  Barrett,  W.  A. 

Dictionary  ok  Musical  Tkrms.  Lond.  and 
N.  Y.,  Novello,  Ewer  &  Co.,  456  p..  $3. 

A  standard  authority  and  the  best  work  of  Its  kind 
in  English.  The  publishers  have  issued  an  abridged 
edition  in  their  series  ol  Music  Primers,  96  p.,  65  c. 

780.3 


PART    X. 


MUSICAL   JOURNALS. 


THEETrnE,  170S  Chestnut  St.,  Phila.,  Month- 
ly, $1.50  per  annum. 

The  Musical  Courier,  19  Union  Square,  N. 
Y.,  Weekly,  $4  per  annum. 

Music,  1402-5  Auditorium  Tower,  Chic, 
Monthly,  $3  per  annum. 

The  Musical  Times,  i  Berners  St.,  Lond.  21 
E.  17th  St.,  N.  Y.),  Monthly,  $1.25  per 
annum. 

The  Mu.sical  Standard,  185  Fleet  St.,  Lond., 
E.  C,  Weekly,  $5.20  per  annum. 

Die  Redende  KOnste,  Leipsic  (Constantin 
Wild's  Verlag),  Weekly,  $2.40  per  annum. 

Musikalisches  Wochenblatt,  KOnigstrasse, 
No.  6,  Leipsic,  Weekly,  $3.20. 


Monatshefte  fPr  Musikgeschichte,  Robert 
Eitner,  Templin. 

Allgemeine  Musikzeitung,  27  Spreestrasse, 
Charlottenburg  (Berlin),  Weekly,  $3.20  per 
annum. 

SiGNALE  FCR  die  MUSIKALISCHE  WeLT,  RosS- 

strasse  No.  22  I,  Leipsic,  Weekly,  I2.40  per 
annum. 

Gazetta  Musicale  di  Milano,  Ricordi,  Mi- 
lan, Weekly,  $4.50. 

Le  Menestrel,  Paris,  H.  Heugel,  Weekly, 
$4  per  annum. 

ZeITSCHRIKT  KOR   lNSTRUMENTENBAU,.Paul  de 

Wit,  Leipsic,  Weekly,  $3.20  per  annum. 


74 


Music. 


PART    XI. 


SECOND-HAND   CATALOGUES. 


^li 


Baer,  Jos.  &  Co.,  Rossmarkt  i8,  Frankfort- 
on-the-Main. 

Beijer,  J.  L.,  Neudegasse  21,  Utrecht. 

Hertling,  R.  Viktoriastrasse  29,  Dresden. 

Cohn,  A.,  Mohrenstrasse  53,  Berlin  W. 

Geigcr  &  Jedele,  Stuttgart. 

Gilhofer  1.S:  Ranschburg,  I  Bognerstrasse  2, 
Vienna. 

Kirchoff  &  Wigand,  Marienstrasse  19,  Leip- 
sic. 

Liepmannsohn,  L.  Bernburgerstrasse  14,  Ber- 
lin S.  W, 

ListiS:  Francke.Universitatsstrasse  i3,Leipsic. 

Meehan,  B.  &  J.,  32  Gay  St.,  Bath,  Eng. 

Parnell,  L.  &  S.,  12  Rockley  Rd.,  Lond.  W. 

Reeves,  William,  185  Fleet  St.,  Lond. 

Schmidt,  C.  F.,  Cacilienstrasse,  Heilbronn. 


Scribner's,  Charles,  Sons,  153  Fifth  Ave.,  N. 
Y.  (In  appendix  to  "  Musical  Literature  List  "). 
Spirgatis,  Marienstrasse  23,  Leipsic. 
Weigel,  Oswald,  Kcinigstrasse  i,  Leipsic. 
Welter,  H.,  59  Rue  Bonaparte,  Paris. 

PRICKS  : 

In  Germany:  1  marker  shilling=:i  franc  25 
centimes. 

In  Austria  :  i  Gulden  (fl.)  =  i  mark  So  pf.  = 
I  shilling  10  pence  — 2  francs  20  centimes. 

In  Holland  ;  i  Dutch  fl,  rin  =  2  francs  10  cen- 
times=i  mark  72  pf.  =  1  shilling  S  pence. 

Lemcke  &  Buechner,  812  Broadway,  G.  E. 
Stechert,  11  East  Sixteenth  St.,  and  E.  Schuberth 
&  Co.,  23  Union  Square,  N.  Y.,  import  second- 
hand books  on  order  at  the  following  prices, 
duty  not  included  :  mark,  2S  c,  franc,  24  c, 
Austrian  florin,  48  c,  shilling,  28  c. 


INDEX. 


Alibey,  E.  A.  See  Fennllosa,  Murr.l 
IKiintinir  in  Boston  Public  Library, 
2j;  Smith,  American  illustrators,  35. 

Aclic,  Caran  d'.  See  Morin,  French 
illustrators,  30. 

Acoustics,  musical,  Broadhouse,  69. 

Acropolis  of  Athens,  D'Oogc,  5  ;  dis- 
coveries made  on,  see  Gardner, 
Chapters  in  Greek  history,  s;  paint- 
ed statues  found  on,  in  1883  and 
1886,  see  CoUiKnon,  Hi;;toire  de  la 
sculpture  Grecquc,  19 ;  buildinps 
on,  F urtwiingler,  23.  See  also  Ath- 
ens. 

Action  in  art,  Beard,  16. 

.■\<lam  ct  Clodion,  Thirion,  36. 

A  lams,  Elizabeth  L.  S.  .SV<?  Steele,  F. 
M.,  ami  Adams,  53. 

Adamy,  R.,  38. 

Adeline, J.,  14. 

yV'ifcna,  temple  of.  See  Colliirnon, 
Histoire  de  la  sculpture  Grecquc, 
19. 

i'Esthetic  principles,  Marshall  8. 

yEsthrtics,  musical,  Ambros,  69  ;  con- 
tribution to  the  revival  of,  Hanslicl:, 
Cg  \  of  pianoforte  playing,  KuUak, 

70. 

Aldegrever.  See  Scott,  The  little 
masters,  35. 

Alexandre,  A.,  15,  48. 

Alford,  I.,ii/y  ^!.,  48. 

Alger,  Abby  L.,  trans.  See  Rcis:;- 
mann,66;  vVasielewski,  67. 

Allen,  \V.  F.,  Ware,  C.  P.,  ami  Har- 
rison, Lucy  M.,6i. 

AllKeiiieine  Miisikzeituiig^i-i,. 

Alston,  Washington.  See  Sweetser, 
Artist  biographies,  3'). 

Altedorfcr.  See  Scott,  The  little 
masters,  35. 

Alypius,  on  music.  .VtvMusici  Scrip- 
tores  Gneci,  60. 

Ambros,  A.  \V  ,  55,  69;  see  also  Prefa- 
tory note,  54. 

Ambrosian  chant.  See  Pali!ographie 
Musicale,  58. 

American  architecture,  Schuyler,  45  ; 
early,  see  Isham  ami  Brown,  F^arly 
Rhode  Island  houses,  42. 

American  art,  Koehler,  7  ;  Benjamin, 

'7- 

American  Folk-lore  Society.  .SVc  Ed- 
wards, Bahama  songs  and  stories, 
62. 

American  illustrators,  Smith,  35. 

American  Indians,  study  of  the  music 
of,  Baker,  61;  of  British  Columbia: 
Nootka,  Salish,  and  Kwakiutl 
tribes  of  the  Pacific  Coast,  Boas,  61; 
Omaha  In<lian  music,  Fletcher,  62. 

Anieriean  Journal  0/  Archirolo^v. 
See  Gardner,  New  chapters  In 
Greek  history,  5  ;  Gayet,  L'art 
Arabe,  6. 

American  music,  Mathe-,vs,  58;  Ritter, 
59  ;  folk-song  in  America, "tiv  Allen, 
Ware,  ami  Harrison,  Slave-songs 
of  the  I'.  S.,  61;  Marsh,  Story  of  the 
jubilee  singers,  62.  See  also  Ameri- 
can Indians,  Canada. 

Amiot,  J'ere  J.,  61. 

Ancient  and  medix'vul  music  (de- 
partment), 60-61. 

Ancient  art,  Menard,  9;  Woltmann 
ami  Woermann,  37.  See  also  An- 
tiijuities,  Archicology. 

Ancient  Coptic  churches  of  Egypt, 
Butler,  39. 

Andersim,  W.,  16;  see  also  Bri'icke,  18. 

Anderson,  W.  C.  F.,  eil.  See  Schrei- 
ber.  Atlas  of  classical  anti(iuities,  12. 

Angelico,  Fra.  See  Sweetser,  Artist 
l;iograi)hies,  36. 

Angers,  d'.  See  H:anc,  Artistes  do 
mon  t'jinps,  3. 

Annals  of  an  olil  manor-house,  Harri- 
son, 42. 

Antiphonaire  de  Saint  Gregoire,  Lam- 
biltotte,  60;  see  also  Gevaert,  60; 
Paloographie  Musicale,  58. 

Antiquities,  Oriental,  Babclon,  2  ; 
English,  Jowitt,  7;  Roman,  Helbig, 


7,  Helbig  ««(/  Lanciani,  7,  Ramsay 
(i«(/ Lanciani,  11;  French,  Roman 
and  Gallo-Roman,  Reinach,  11  ; 
Homeric,  Seymour,  12  ;  classical, 
Schriebcr,  12,  Harper,  14,  Seyffert, 
15;  Greek  and  Roman,  Smith,  15; 
art  of  mosaic  in  classical,  see  Ger- 
spach.  La  mosatque,  41.  See  also 
Gailhabaud,  Monuments  anciens  et 
modernes,  41 ;  also  Archaeology, 
Monuments. 

Apollo  Belvedere.  See  Furtwanglcr, 
Masterpieces  of  Greek  sculpture,  23. 

Apthorp,  W.  F.,  63,  70;  see  also  Cham- 
plin,J.  D.,n«(/ Apthorp,  73. 

Arabian  art,  Gayet,  6. 

Aribian  music,  Kiesewetter,  Die 
Musik  der  Arabcr,  62. 

Antra  Penlelici,  Ruskin,  33-34. 

Archajology,  Prefatory  note  on,  2  ; 
Conway,  4;  Emerson,  5;  Waring,  i.,-; 
Christian,  Perate,  10;  early  media;- 
val,  see  Frothingham,  Christian 
Rome,  5;  Egyptian,  Maspero,  8,  Pc- 
Irio,  11;  Etruscan  and  Roman,  Mar- 
tha, 8  ;  Greek,  Brunn,  3,  CoUignon, 

4,  Murray,  4,  10,  Diehl,  5,  Gardner, 

5,  Schuchhardt,  12;  Roman,  Helbig 
ami  Lanciani,  7.  See  also  names 
I  f  various  countries  and  special  cit- 
ies as  Athens,  Pompeii,  Rome;  also 
Antiquities,  Monuments. 

Architects,  biographies  of,  Va.sari,  13. 
Architecture  (department),  38-48. 
Architectural    illustrations,   Billings, 

39- 

A  rch itectural  Record.  See  Fletcher 
and  Fletcher,  41 ;  Goodyear,  41  ; 
Isham  and  Brown,  42. 

Architecture,  Prefatory  note  on,  38 ; 
grammar  of,  Blanc,  3  ;  symbolical, 
Lethaby,  8;  materials  and  processes 
of  ancient^ftf  Middleton,  Remains 
of  ancient  Rome,  9;  ruin  of,  see  Mor- 
ris, Hopes  and  fears  for  art,  9:  of 
ancient  times,  see  Perrot  a«r/Chi- 
piez,  Histories  of  ancient  art,  11; 
Avery  library  of,  38-39  ;  history  of, 
Adamy/j8.  Fergusson,  40-41,  Fletch- 
er nn</ Fletcher,  41,  Hamlin,  41-42, 
Lewis  a«(/ Street,  ^2,  Mathews,  43, 
Ramee,  44,  Stutgis,  46,  see  also 
Gailhabaud,  Monuments  anciens  ct 
modernes,  41  ;  encyclop»edia  of, 
Gwilt,  41;  cyclopiedia  of,  Long- 
fjllow,  43;  styles  of,  see  Rosengar- 
ten.  Die  Arcnitektoniachen  Stvlar- 
ten,  43;  Seven  lamps  of,  Ruskin, 
45  ;  for  general  readers,  Statham, 
46;  lack  of  originality  in,  Sturgis, 
46 ;  classical  and  early  Christian, 
Smith  and  Slater,  46;  discourseson, 
Vio!let-le-Duc,  47;  civic  and  relig- 
ious, see  Viollet-le-Duc,  Histoire 
d'un  hotel  de  ville  et  d'un  cathc- 
dralc,  47.  See  also  Archaeology, 
I!uilding,Churches,  Homes, Houses, 
Middle  Ages,  Renaissance;  also 
names  of  schools  of  architecture,  as 
Byzantine  architecture.  Domestic 
architecture,  Gothic  architecture. 
Oriental  architecture,  M  il  itary  arch- 
itecture, etc. ;  also  names  of'^  coun- 
tries, as  Eng'ish  architecture,  Jap- 
anese archite'  ture,  etc. 

Arends,  L.  A.  \  .,  60. 

Arezzo,  (iuido  de,  Kiesewetter,  60. 

Ariadne  Florcntina,  Ruskin.  34. 

Aristotelcs,  on  musi'".  See  Musici 
Scriptores  Graeci,  60. 

Aries,  buildings  ol  the  Roman  time 
and  Middle  Ages  in.  ,Siv  Macgib- 
bon.  Architecture  of  Provence  and 
the  Riviera,  45. 

Armor,  value  of  seals  in  determining 
dates  o?  see  Lecoy  de  la  Marche, 
Les  sr .  lux,  27  ;  on  the  plates  of 
tombs,  see  Macklin,  Monumental 
brasses,  28. 

Arms  and  armour,  ia  antiquity  and 
the  Middle  Ages,  Moutell,  49;  guide 
toancient,  Demmin,  Die  Kriegswaf- 
fen  in  ihrcr  Historischcn  Entwicke- 


lung  von  der  Altcsten  Zciten  bis  auf 
dieGegenwart,  4c);Lesarmcs,  Main- 
dron,  51 ;  French,! n  the  Middle  Ages, 
rt'f  Viollet-le-Dyc,  Dictionnaire  rai- 
sonne  du  mobilier  Fran9ai3,  53. 
Armstrong,  W.,  16;  trans.,  .hv  Perrot 
and  Chipiez,  Histoire  de  l'art  dans 
I'antiquit-S  lo-ii;  Corroyer,  L'archi- 
tcctureGothique,  39,  48. 

Art,  Colvin,  4,  Moody,  9,  Pahfrave, 
10,  Rossetti,  12,  Ruskin,  12,  Seeley, 
12,  Sturgis,  13,  Taine,  13,  Child,  18; 
hi:;tories  of,  Bayet,  2,  De  Forest,  4, 
Menard,  9,  Schultz,  12,  Rosenberg, 
12  ;  in  ancient  times,  Perrot  and 
Chipiez,  lo-ii ;  grammar  of,  Blanc, 
3 ;  dawn  of,  Conway,  4 ;  of  the 
xviii.  century,  De  Goncourt,  4 ;  in 
the  modern  state,  Dilke,  5;  imita- 
tive. Dyer,  5;  ministry  of.  Gambler, 
5  ;  Kunst  u.  Klinstler  des  Mittelal- 
tcrs  u.  der  Neuzcit,  Dohme,  ; ; 
thoughts  about,  Hamcrton,  7 ;  L'op- 
tique  et  1',  Laugel,  8 ;  history  of, 
Menard,  9 ;  hopes  and  fears  for, 
Morris,  9,  51  ;  excursions  in.  Story, 
13;  philosophy  of  ideal  in,  Taine,  13; 
dictionary  of,  Adeline,  14;  study  of 
in  universities,  Waldstein,  14;  action 
in.  Beard,  16;  expression  as  con- 
nected with.  Bell,  17;  origin  of  mod- 
ern, Courajod,  20;  man  in,  Hamer- 
ton,  24;  talks  on,  Hunt,  25 ;  ten  lect- 
ures on,  Poynter,  31  ;  mysticism  in, 
see  Ruskin,  Aratra  Pentelici,  33-34  ; 
representative  and  decorative  of 
IV.  to  XII.  centuries,  see  Milntz,  La 
mosa:que  chr^tienne,  44;  lectures  on , 
Scott,  53.  See  also  also  Decorative 
art,  Renaissance,  Sculpture ;  also, 
for  the  art  of  various  countries,  see 
the  name  of  the  country. 

Art  and  criticism.  Child,  i3.  ^ 

Arteducation.Hunt,  W.  H.,.r<v Trans- 
actions of  the  National  Association 
for  the  Advancement  of  Art,  53.  See- 
also  Artists. 

Art  for  art's  sake,  Van  Dyke,  36. 

Art  for  the  villa.  See  Moore,  Im- 
pressions and  opinions,  29. 

Art  handbooks.     See  Poynter,  31. 

Art  in  America,  Benjamin,  17. 

Art  in  the  modern  state,  Dilke,  5. 

Art  in.stinct.  See  Brownell,  French 
traits,  3. 

Art  of  manufactures.  See  Industrial 
art. 

Art  out  of  doors.  Van  Rensselaer,  .•■;. 

Art  schools  of  media;val  Christendom, 
Owen,  10. 

Art  tour  to  northern  capital;;  of  Eu- 
rope, Atkinson,  2. 

Artaria.    See  Beethoven,  63. 

Artea  a,  S.,  56. 

Artists.  Artistes  de  mon  temps,  Blanc, 
3;  L'edueation  de  I'artiste,  Clies- 
neau,  3;  Kunst  u.  Klinstler  des  Mit- 
telaltcrs  u.  der  Neuzeit,  Dohme,  5; 
at  the  World's  Fair,  Millet,  9;  of 
Spain,  Stirling-Maxwell,  12-13;  "^ 
XIX.  century,  Clement  and  Hutton, 
14;  Allgeraeines  Kiinstler-Lexikon 
Oder  Leben  u.  Werke  der  berilhmt- 
estcn  bildc-n  den  Klinstler,  Seu- 
bert,  15;  Biographisches  Kiinstler- 
Lexikon  der  Gegenwart,  Mliller,  15; 
Artistes  Anglais  contemporains, 
Chesneau,  18;  Early  Flemish,  Con- 
way, i9;classificationof,  jtv  Muther, 
History  of  modern  painting,  30; 
Dictionary  of  English,  Redgrave, 
32.  .S<v  a/so  Art  education;  Biog- 
raphi>  s;  Painters;  Scuhitors. 

Arts  and  craftsessays,  Morris,  51-52. 

Asia,  Eastern,  ancient  architecture 
in.  .See irinuth and  Slater,  Architect- 
ure, classical  and  early  Christian,  46. 

Asia,  Western,  origin  of  European 
architecture  in.  .See  Fergusson,  His- 
tory of  architecture  in  all  countries, 
40 ;  ancient  architecture  in,  Kee 
Smith  and  Sla'er,  Architecture, 
classical  and  early  Christian,  46. 


vKi 


WM 


76 


Asia  Minor,  recent  excavations  in, 
Gardner,  5;  hi  ;tory  of  ancient  art 
in,  Perrot  am/  Cnipiez.  11;  cities 
in,  see  Longfellow,  Cyciopicdia  of 
works  of  architecture,  43, 

Assyria,  antiquities  of,  fiabelon,  s, 
see  also  Perrot  ami  Chi,)icz,  His- 
toryr  of  ancient  art  in  Kffypt  and 
Syria,  11;  strujfgle  of  nations  1:1, 
Maspero,  9;  ancient  architecture  i:i, 
see  Smith  and  Slater,  Architecture', 
classical  and  early  Christian,  46. 

Assyrian  pottery,  Hirch,  48. 

Assyrian  sculpture,  Redford,  32. 

Astor  Library,  musical  department 
of.  See  Prefatory  note,  55;  Musici 
Scrlptores  Grteei,  60. 

Athens,  studies  in,  see  Harrison,  In- 
troductory studies  in  Greek  art,  7; 
mythology  and  monuments  of  an- 
cient, Harrison,  7.  See  also  Acrop- 
olis. 

Atkinson,  J.  n.,  2. 

Atkinson,  T.  1).  .V,<-  Foster,  J.  K., 
and  Atkinson,  50. 

Atlas  of  classical  antiquities,  Schrei- 
ber,  12. 

Avery  Architectural  Library,  38-39. 
See  also  Prefatory  note,  31. 

Babelon,  E.,  2,  16. 

Rabylon,  Sayce,  12;  antiquities  of, 
nabelon,  2. 

Hacchius,  on  musie.  See  Musici  Scrip- 
tores  Gra;ci,  6o. 

Bach,  C.  I'.  K.  Sec  liimbault,  Piano- 
forte, 59;  Kulliik,  ^iKsthetics  of 
pianoforte  plaving,  70. 

Bach,  Johann  Sjbastian,  Poole,  66; 
Spitta,  66;  see  also  Bitter,  Beitrajje 
zur  Geschichte  <ies  Oratoriums,  56; 
Rimbault,  Pianoforte,  59;  Apthorp, 
Musicians  aid  music-lovers,  70. 

Bacon,  H.,  16. 

Bahama  songs  and  stories,  Edwards, 
62. 

Baini,  G..  63;  see  also  Kandler,  Uber 
das  Lencn  u.  Werke  des  (i.  Pier- 
luigi  der  Palestrina,  64-63. 

Baker,  T.,  61,  trans.  See  Jadassohn, 
70,  Kullak,  70. 

Baldry,  Alfr.  L.,  16. 

Balfour,  H.,  48. 

Balkan  peninsula,  cities  of.  See  Long- 
fellow, Cyclopxdia  of  works  of 
architecture,  43 

Baltazarini  (M.  de  Bcaujoyeul.x).  See 
Celler,  Los  origines  de  I'opera  et  le 
ball';tde  la  reinc,  57. 

Banister,  H.  C,  73. 

Barber,  E.  A.,  48." 

Barbizon  school  of  painters,  Thom- 
son, 36. 

Bargiel.  See  Fuller-Maitland,  Mas- 
ters of  German  music,  64. 

Barret,  W.  A.  Sec  Stamer,  Sir  J., 
and  Barret,  73. 

Bartolommeo,  Fra,  Scott,  34. 

Barye,  A.  L.,  Alexandre,  15;  see  also 
Blanc,  Artistes  de  mon  temps,  3. 

Barzaz-Tlreiz,  ViMemarqu>,  6). 

Bas-reliefs,    Renaissance    and     later, 

I      see  Maskell,  description  of  ivories 

in  South  Kensington  Museum,  51. 

Pastien- Lepage,  lules,  Cartwright,  18. 

Baudry,  Cox,  20. 

Baumker,  W.  .SVv  Ambros,  Gcschicli- 
te  der  Musik,  55. 

Bayet,  C,  2,  j6. 

Bazzini.  6'ir  StreatfeiM,  Masters  of 
Italian  music,  66. 

Beard,  W.  H.,  16. 

Beauty,  ideas  <:f.  See  Ruskin,  Mod- 
ern painting,  33. 

Beauty  of  form  and  grace  of  vesture, 
Steele  and  Adams,  53. 

Beckwith,  J.  C,  16;  see  also  Modern 
French  masters  29. 

Beethoven.  Ludwig  van,  63,  Marx, 
65,  Nohi.  -.  Nottebohm,  65,  Ouli- 
biscl  ff,  Schindler,  66,  Thayer, 
66-67,  Grove,  71,  Etterlein,  71, 
Lenz,  72,  Teetgen,  72. 

Before  the  soldan.  See  Ruskin,  Morn- 
ings in  Florence,  34. 

Behan,  B.    See  Scott,  The  little  mas- 


ters, 35. 

Behan,  H.  S. 

masters,  35. 


See  Scott,   The   little 


Index. 


Belcher,  J.  See  Transactions  of  the 
National  Association  for  the  Ad- 
vancement of  Art,  53. 

Belgium,  revival  of  sculpture  in,  Des- 
triie,  21;  old  masters  of,  Fromen- 
tin,  22;  painting  in,  see  Lafenestre 
and  Richtenberger,  Painting  in 
Europe,  27. 

Bell,  Mrs.  Arth.,  17. 

Bell,  Sir  Chas.,  17. 

Bell,  Clara,  trans.  See  Chesneau, 
L'education  de  I'artiste,  3;  Wolt- 
maiin  <» «r^  VVoerman,  Paintings  of 
the  Renascence,  37;  Spitta,  Johann 
Sebastian  Bach,  66. 

Bell,  Malcolm,  17. 

Bellermann,  F.,  60;  see aUoVKiaXory 
not!,  64. 

Ben.dict,  Sir  J.,  63. 

Bened  te,  L.,  17. 

Benjamin,  S.  G.  W.,  17. 

Bennett,  J.,  ed.    See  Berlioz,  69. 

Benoit,  C,  67. 

Benson,  W.  A.  S.,  48.  See  also  Tran- 
sactions of  the  National  Association 
for  the  Advancement  of  Art,  53. 

Beraldi,  H..  17. 

Berenson,  B.,  17. 

Berlioz,  Hecior,  63,  69;  Apthorp,  6(. 

Bertrand,  A.,  17. 

Beyle,  H.     See  Stendhal,  13. 

Bible,  music  of  the,  Hutchinson,  57; 
Stainer,  61.  See  also  Hebrew  mu- 
sic. 

Bignami.  .Siv  Jaccaci,  Italian  posters, 

Billings,  R.  W.,  39. 

Binck.    .SVv  Scott,  The  little  masters, 

35. 

Binders,  characteristic  school  of, 
Fletcher,  49-50.  See  also  Book- 
binding. 

Binding.     See  Bookbinding. 

Biographies,  of  artists,  Blanc,  3,  Cle- 
ment ««</  Hutton,  14,  Sweetser,  36; 
of  painters,  sculptors,  and  archi- 
tects, Vasari,  13;  of  painters,  James, 
14;  Allgeincines  Kiinster-Lexikon, 
Seubert,  15;  Biographisches  Kiinst- 
ler-Lexikon  der  Gegenwart,  M  i'lllcr, 
15;  of  engravers,  Beraldi,  i7;of  con- 
temporaneous Eng.  artists,  Ches- 
neau, 18;  of  early  Flemish  painters, 
Crowe  and  Cavilcaselle,  2j;  of 
early  Italian  painters,  Jameson,  26. 
See  also  names  of  subjects,  as  ar- 
tists, architects;  n/jo  names  of  indi- 
viduals and  names  of  countries  and 
periods,  as  Renaissance. 

Biographies,  of  musicians.  See  Biog- 
raphy (department),  63-67. 

Birch,  S.,  48. 

Birdwood,  .S;V  G.  C.  M.,  49. 

Bischoff,  H.,  ed.     See  Kullak,  70. 

Bitter,  C.  H.,  56. 

Black,  C.  C,  trans.  See  Dcmmin, 
Die  Kriegswafifen  in  ihrer  Historjs- 
chen  Entwickelung  von  den  Altes- 
ten  Zeiten  bis  auf  die  Gegenwart, 
49. 

Black  and  white  work.  .See  Harper, 
English  pen  artists  of  to-d;iy,  24; 
Layard,  Life  and  letters  of  Keene, 
27;  Morin,  French  illustrators,  30; 
Pennell,  Pen-drawing  and  pen 
draughtsmen,  3i;Spielman,  History 
of  I'linch,  35.  See  also  Book  illus- 
tration; illustrators. 

Blackburn,  H.,  17. 

Blake,  William,  Gilchrist,  23. 

Blanc,  Chas.,  3,  49. 

Blashrield.  E.  H.,  17;  ed.,  see  Va- 
sari, Lives  of  painters,  13;  Modern 
French  masters,  29. 

Blashfield.  IC.  W.,  ed.  .See  Vasari, 
Lives  of  painters,  13. 

Blitheman.  See  Rimbault,  Piano- 
forte, 50. 

BlomtielJ,  R.,  and  Inigo,  T.,  39. 

Boas,  F.,  61. 

Boethius  and  the  harmonic  system  of 
the  Greek  school,  Paul,  60. 

Riilime,  F.,  61.  See  also  Erk,  L.,  and 
Biihme,  62. 

Boissier,  G.,  3. 

Boito,  A.  .SV<^  Strcatfeild,  Masters  of 
Italian  music,  66. 

Hoito,  C,  39. 

Bologne,  Jean,  Desjardins,  21. 


Bombct,  L.  A.  C,  63. 

Bonnard,  C,  49. 

Bonnat,  Ll'op,  Blashfield,  17. 

Bookbinding,  in  England  and  France, 
Fletcher,  49-50;  sketch  of,  Sander- 
son, see  Morris,  Arts  and  crafts  e.^ 
says,  51-52 ;  historical  sketch  of, 
Prideaux,  53;  historical  and  practi- 
cal, Gro^No\\,see  Prideaux,  52. 

Book-covers,  French,  Alexandre,  13; 
for  music,  Jaccaci,  25. 

Book  illustration,  Japanese,  tee  Jar- 
vcs,  Glimpse  at  the  art  of  Japan, 
7;  manual  of,  Pennell,  31;  Italian, 
of  the  XV.  century,  Pollard,  31; 
American,  see  Smith,  American  i  - 
lustrators,  35;  modern  methods  of. 
Wood,  37;  curious  borders  in,  te- 
De  Forest,  Indian  domestic  archi- 
tecture, 39-40.  See  also  Black  an.l 
white  work;  Illustration;  Illustra- 
tors. 

Book-shelves,  making  of.  See  Ben- 
son, Elements  of  handicraft  and  de- 
sign, 48. 

Borghese  Gallery.  See  Morelli,  Ital- 
ian painters,  30. 

Boston  Museum  of  Fine  Arts,  cata- 
logue of  Greek,  Etruscan,  and  Ro- 
man vases  in,  Robinson,  52. 

Boston  Public  Library,  mural  paint- 
ings in,  Fenollos;i,  22. 

Boucher,  Fran9ois,  Mantz,  28. 

Bouchot,  H.,  17. 

Bouillier,  A.,  3. 

Boutell,  C.,  49. 

Boutet  de  Monvel,  Low,  28. 

Bracquemond,  17. 

Brahms,  Johannes,  Deiters,  64;.rccrt('j(> 
Fuller-Maitland,  Masters  of  Ger- 
man music,  64. 

Brasses,  monumental,  Macklin,  -28. 

Hrendcl,  F.,  55. 

Brescia,  history  of  painting  in,  from 
XIV.  to  XVI.  century,  Crowe  and 
Cavalcaselle.  20. 

Brick  and  marble  in  the  Middle  Ages, 
Street,  46;  in  Roman  buildings, 
see  Smith  and  Slater,  Architecture, 
classical  and  early  Christian,  46. 

British  Columbia,  Indians  of.  Boas, 
61. 

British  Museum,  the  Fillct-lier  in, 
i:ee  Collignon,  Histoire  de  la  sculpt- 
ure GrecquCj  i_);  Italian  prims  in, 
I'lsher,  22  ;  Gre<:k  and  Roman  ar- 
liquities  in,  j<v  Murray,  History  i  f 
(ireek  sculpture,  30. 

British  music,  from  the  earliest  times 
to  the  Tudor  period,  Crowest,  57. 
.See  also  English  music. 

Brittany,  popular  songs  of.  .SVc  ViKe- 
inar(|ue,  Barzaz-Breiz,  63. 

Broadhouse,  J.  A  ,  69 ;  see  also  Teet- 
gen, 72  ;  trans.,  see  Thibaut,  jj. 

Broekhoven,  J.  \  ,  69. 

Bronzes,  Japanese,  see  Gonsc,  L'Art 
Japonais,  6;  Cireek,  Murray,  10; 
Chinese,  .^ee  PaleologUi',  L'art  chi- 
nois,  10;  Gallo-Roman,  ,nf  Reinach, 
National  antiquities,  11;  Catalogue 
of  European,  in  South  Kensingto:i 
Museum,  I'ortnum,  22. 

Brooks,  H.  M.,  56. 

ISrosiiiiier.  .See  Scott,  The  little  mas- 
ters, 35. 

Brown,  A.  F.  .SW-  Isham,  N.  M.,  ami 
I>rown,  42. 

Brown,  Mrs.  J.  C,  collection  of.  .v.v 
Brown,  Mary  E.,  and  Brown,  \V. 
A.,  61. 

Brown,  .Mary  E.,  and  Brown,  W.  A., 
61. 

Brownell,  \V.  C,  3. 

Bruch.  .SV'i-  Fuller-Maitland,  Masters 
of  German  music,  64. 

Brlicke,  Ernst,  18. 

Bruckner.  See  I'uUer-Mailland,  Mas- 
ters of  German  music,  64. 

Bruneau.  .See  Hervey,  Masters  of 
French  music,  64. 

Brunn,  H.,  3. 

Bryan,  M.,  14. 

Bucknall,  B.,  trans.  .See  Viollet-le- 
Duc,  47. 

Building  and  loan  associations,  Linn, 

4 
Builamg,    Papwortli,    44;    rational, 
Huss,  42. 


Index. 


77 


See  Villc- 


Bull.     See  Rimbault,  Pianofiirle,  sg. 

Hunncr,  H.  C,  18. 

Burckhardt,  J  ,  i3 

Burlincam^,  E.  L.,  trans.  See  War- 
ner, Art  life  and  theories,  68. 

Burlington  Fine  Arts  Club,  catalogue 
of.  See  Haden,  Etched  work  of 
Rembrandt,  24. 

Burn,  R.,  3 

Hurne-Joiies,  Sir  E.  Bell,  17;  see  also 
Chesneau.  Artistes  Anglais  contein- 
porains,  18. 

Hirney,  C,  SS,  5l5-57- 

Bjrty,  P.,  49 

Busslcr,  Luclwig,  69;  see  also  Cor- 
nell, 69. 

Butler,  A   J.,  39. 

Butler,  Lady.  See  Bacon,  Parisian 
art  and  artists,  16. 

Buxton,  H.  J.  W.,  31;  rtwr/Poynter,  31. 

Byrd.     See  Rimb^lt,  Pianoforte,  59. 

IJyzantine  architecture,  Texicr  ami 
Pullen,  46,  see  alsit  SalzeiiDerij,  Alt- 
Christliche  Baudcnkraale  v.  Con- 
stantinopel,  45,  Smith  and  Slater, 
Architecture,  classical  and  early 
Christian,  46;  considered  as  a  natural 
development  of  the  classical  Roman, 
see  Essenwein,  Die  Fortsetzung  der 
classischen  Baukunst  im  oitriimisch- 
cn  Reiche.  40;  Church  of  St,  Sophia 
an  example  of,  see  I^ethaby  ami 
Swainson,  42.  See  also  Oriental  ar- 
chitecture. 

Byzantine  art,  Bayet,  3,  16;  in  South- 
ern Italy,  Oiehl,  4;  survival  of,  in 
Russia,  see  Viollet-le-Duc,  L'art 
Russe,  14;  use  of  mosaic  in,  see  Ger- 
spach.  La  mosaique,  41.  See  also 
Oriental  art. 

Caccini.    .See  Kiesewetter,  Schicksale 

und  Heschaffenheit  des  Weltlichen 

Ocsanges,  58. 
Cairo,  Poole,ii;jfC((/«)  Franz-Pascha, 

Die  Baukunst  des  Islams,  41. 
Caldecott,  R.,  Blackburn,  17. 
Callol,  Jacques,  Vachon,  36. 
Cimeos.     See  (iem  engraving. 
■Canada,  Chansons  populairesdc,  Gag- 

non,  62. 
Cantatas,  standard,  I'pton,  72. 
Canterbury   Cathedral,   architectural 

history  of,  Willis,  47. 
Capella  style,  of  Palestnna.    .SVv  Am- 


hros,  ("reschichte  der  Musik. ^5 
;aran  d'Ache 
illustrators,  30 


Caran  d'Ache       See  Mori 


ilK.  5 

n.   Pi 


rench 


Carcassonne,  buildings  of  the  Roman 
time  and  Middle  .Ages  in,  see  Mac- 
gibbon,  Architecture  of  Provence 
and  the  Riviera,  43. 

Caria,  history  of  ancient  art  in,  Per- 
rot  <j«i/  Chipiez,  n. 

Caricaturists,  Gavarni,  Forgues,  22; 
Caran  d'Ache,  see  Morin,  French 
illustrators,  30;  Doyle,  jtvSpielman 
History  of  /'iimli,^s- 

Carlisle  Cathedral,  history  and  de- 
scription of,  see  Killings,  Architect- 
ural illustrations,  39. 

Carolus-Duran,  Heckwith,  16. 

Carpaccio,  Molmenti,  29;  .iivkAi' Rus- 
kin,  St.  Mark's  Rest,  34. 

Carpani,  G.  See  Boinbet,  Life  lA 
Haydn,  63. 

Carpeaux,  J.  B.,  Chesneau,  18 

Carpenter  work.  Se,'  Benson,  Ele- 
ments of  handicraft  and  design,  48. 

Carru'S,  J  ,  Alexandre,  16,  48. 

Cartwright,  J.  {Mrs.  Ady),  18. 

Carvings,  Japanese.  iVt'Gonse.  L'art 
Japonais,  6. 

Ca.stle  St.  Angelo  and  the  evil  eye. 
Story.  13. 

Castles,  ol  the  Middli-  Ages,  .91?^  Es- 
senwein, Die  Romanlsche  und  die 
fiothische  Baukunst;  die  Kriegs- 
baukunst,  40;  of  Scotlan.l,  Macgib- 
bon  and  Ross,  43. 

Casts,  plaster,  makers  of,  see  Mar- 
quand  and  Frothingham,  Hi'.tory 
of  sculpture,  28;  list  of,  Upcott,  In- 
troduction to  Greek  sculpture,  36; 
catalogue  of,  Waldstein,  37. 

Catacombs,  mosaics  in  the,  jer  Miintz, 
La  mosaique  Chr^tienne  pendant 
Ics  premiers  sitcles,  44. 

Catalogues,  of  bronzes  in  South  Ken- 


sington Museum,  Fortnum,  22:  of 
■etchers  and  painter-engravers,  Ha- 
den,  24;  of  tne  Louvre,  Lafenestre 
(j«i/Richtenberger,  27;  of  gems  in 
the  Fitzwilliam  Museum,  Middle- 
ton,  29;  of  the  Avery  Architectural 
Library,  38;  of  pottery  in  South  Ken- 
sington Museum,  F<>rtnuin,  to;  of 
loan  collection  of  plate  in  Fitzwill- 
iam Museum,  Foster  ««</ Atkinson, 
50;  of  vases  in  Museum  of  Fine 
Arts,  Boston,  Robinson,  52;  of  tex- 
tile fabrics  in  South  Kensington 
Museum,  Rock,  52. 

Catalogues,  second-hand,  of  music, 
74- 

Cathedrals.  .See  Viollet-le-Duc,  His- 
toire  d'un  Hotel  de  Ville,  47;  Can- 
terbury Cathedral,  Willis,  47;  Car- 
lisle Cathedral,  see  Billings,  Archi- 
tectural illustrations,  39;  Chartres 
Cathedral,  see  Lewis  and  Street, 
Architecture,  42;  Durham  Cathe- 
dral, Billings,  33;  Gloucester  Cathe- 
dral, .fiv  Gambler,  Ministry  of  fine 
art,  5;  Pisa  Cathedral,  see  Desjar- 
dins.  La  vie  et  I'oeuvres  de  Jean 
Bologne,  21  ;  St.  Paul's  Cathedral, 
Longman,  43,  see  also  Armstrong, 
Alfred  Stevens,  i6.  See  also  Church- 
es ;  Sacred  buildings. 

Cattaneo,  R.  39 

Cattaro.  .See  Freeman,  Sketches  from 
the  subject  and  nelghborlands  ot 
Venice,  41. 

Caulfeild,  S.  F.  A.,rt«'('S.award,  B.  C, 

49' 

Cavalc.iselle,  G.  B.  .See  Crowe,  Sir 
J.  A.,  (i«^/Cavalcaselle,  20. 

Cavallucci,  C.  J.,  18. 

Celler,  L.,  57. 

Cellini,  Henvenuto,  3. 

Cemeteries,  Christian  and  Pagan  .See 
Lanciani,  Pagan  and  Christian 
Rome,  8. 

Ce-tiiry  Gallery,  18. 

Cei.  'ry  .Magazine.  See  La  Farge, 
Ar.ist's  letter  from  Japan,  7. 

Ceramics,  Chinese,  PaUologue,  10,  Du 
Sartel,  49,  Grandidier,  50;  history 
of,  Jaennicke,  Grundris<  der  Kera- 
mik  in  Bezug  auf  das  Kunstgewer- 
be,  50-51;  dictionary  of,  Garnier, 
50;  ancient  Greek,  see  Lau,  Die 
Griechischen  Vasen,  51,  Rayet  and 
Collignon,  Histoirede  la  coramique 
Grecque,  52.  See  also  Porcelain  : 
Pottery. 

Chabrier.  .See  Hervcy,  Masters  ol 
French  music,  64. 

Chaldica,  anti((Uities  of,  Babelon,  2; 
dawn  if  civilization  in,  Maspero, 
9;  see  also  Perrot  and  Chipiez,  His- 
tory of  ancient  art  in  Egypt,  11. 

Chambonnieres.  See  Rimbault,  Pi- 
anoforte, 59. 

Champlin,  j.  D.,  Jr.,  and  Apthorp, 
W.  F.,  73. 

Chantilly,  Chateau  de,  collection  o( 
p,iintings  a',  Gruyer,  23. 

Chants,  Gregorian,  Reissmann,  56; 
Gregorian.  Ambrosian,  Muzarabic 
and  Galilean,  Paleographie  Musi- 
cale,  58;  liturgic,  of  th  Latin 
Church,  Gevaert,  60;  Medi:£val 
church,  sue  Schubiger,  Die  Siinger- 
sjhule  St.  Gallens,  Ci 

Cliap'jl  Royal  (The).  .SV<-  Curwen, 
Studies  in  worship  music,  2d  ser., 
70-71. 

Chapin,  W.  O  ,  18. 

Chappell,  W  ,  61. 

Cha;)u,  FidiOre,  22. 

Charles  v.,  cloister  life  of.  See  Stir- 
ling-Maxwell, Annals  of  artists  of 
Spain,  12-13. 

Charles  VI 11.,  La  Renaissance  en 
Italic  et  en  France  A  I'epoque  de, 
Miintz,  9;  see  also  De  Laborde,  La 
Renaissance  des  arts  i.  la  cour  de 
France,  4. 

Chartres  Cathedral.  See  Lewis  and 
Street,  Architecture,  42. 

Chateau,  L.,  39. 

Chava  .^s,  Puvis  de.  .S'l'f  Ftnollosa, 
Muru.  painting  in  Boston  Public 
Library,  22. 

Chefs-d'(i;uvres,of  Corot,  petit  album 
classiquc,  20;  de  l'art  au  xix.  siecle. 


I'^cole  franfaise  de  Delacroix  i  Reg- 
nault,  De  Lostalot,  21:  de  Part  au 
XIX.  si^clc,  la  peinture  ^trangere, 
De  Wyzewa,  22  ;  de  1  art  au  xix. 
sii'Cle,  la  sculpture  et  la  gravure, 
Gonse,  23 ;  de  l'art  au  xix.  siK-le, 
la  peinture  Franyaise  actuelle,  Le- 
fort,  27;  au  XIX.  siecle,  I'ocole  Kran- 
Vaisede  Ingres  ;\  Delacruix,  Michel, 
28. 

Cherubim,  Crowcst,  64. 

Chesneau,  E.,  3,  18. 

Chiaroscuro,  Sturgis,  36. 

Chicago  Fair.  .S,-,-  World's  Columbi- 
an E.xposition,  ("hicago. 

Child,  Theodore,  18. 

Chinese  art,  Pali'ologue,  10;  pnrcelam 
and  pottery,  Du  Sartel,  49,  Grandi- 
dier, 50.     See  also  Indo-Chinese  art. 

Chinese  music.  Van  Aalst,  6_!;  see  a/so 
Reissmann,  Allpemcine  Geschiclite 
der  Musik,  56,  Amiot,  Memoire  sur 
la  musique  des  Cliinois,  61. 

Chipiez,  C.  .See  Perrot,  G.,  and 
chipiez,  C,  lo-ii. 

Chirtani,  L.     See  Selvatico,  P.,  12. 

Chopin,  F  ,  Karasowski,  65,  Liszt, 
65,  Niecks,  65,  Finck,  71,  Klec- 
zynski,  72. 

Choral  music,  notes  on  the  cultiva- 
tion of,  Krelibiel,  58;  see  also  Reiss- 
mann, Allgemeine  Geschichte  der 
Musik,  56  i  also  Chants,  Church 
music.  Worship  music. 

Chorley,  H.  F.,  70. 

Christ  in  art,  Farrar,  22,  Jameson,  26. 

ChristKin  architecture,  early,  Smith 
and  Slater,  46. 

Christian  art,  Rio,  33;  history  of, 
Lindsay,  27,  .see  also  Gambler, 
Ministry  of  tine  art,  5;  simple  stud- 
ies of,  Ruskin,  34;  early,  Woltmann 
and  Woermann,  37;  mosaic  woik 
in,  see  Miintz,  La  rr.osaique  chro- 
tienne  pendant  Ics  premiers  siicler, 
.;4.  See  also  Religious  art.  Sacred 
an. 

Chiistian  ecclesiology.  .See  Butler, 
Ancient  Coptic  churches  of  Egypt, 

39- 
christian  symbols,  and  stories  of  the 
saints  as  illustrated  in  art,  Clement, 

'9 

Christiania.  .See  Atkinson,  Art  tour 
to  northern  capitals  of  Europe,  2 

Chrysander,  F.,  64. 

Church  bells.  .See  Jewitt,  Half  hours 
among  some  English  antiquities,  7. 

Church  music,  Geschichte  der  Geist- 
lichcn  Dichtung  u.  Kirchlichen 
Tonkunst,  Schlelterer,  59;  Origin 
of  the  liturgic  chant,  Gevaert,  60; 
Antiphonaire  de  Saint  Gregoire, 
Lambillotte,  60.  .See  also  Chants, 
Choral  music.  Worship  music. 

Church  vestments,  in  South  Kensing- 
ton Museum,  Rock,  52. 

Churches,  Christian,  see  Lanciani, 
Pagan  and  Christian  Rome,  8; 
ancient  Coptic,  Butler,  39;  London 
city,  Di'.niell,  39;  fortihed,  of  the 
Middle  Ages,  see  Essenwein,  Die 
Romanlsche  u.  die  Gothische  bau- 
kunst: die  Kriegsbaukunst,  40. 

Cicerone  (The),  Burckhardt,  18. 

Cities,  ancient,  and  their  buildings, 
see  Freeman.  Historical  and  archi- 
tectural sketches,  41;  architecture 
in  relation  to,  see  Statham,  Archi- 
tecture for  general  readers,  46. 

City  house  (The),  in  the  West,  Root, 
45;  in  the  East  and  South,  Sturgis, 
46. 

City  parks.  .See  Parsons,  Landscape 
gardening,  44. 

City-walls,  of  the  Middle  .'\ges,  see 
Essenwein,  Die  Romanlsche  u. 
Gothische  Baukunst.  die  Kriegs- 
baukunst, 40;  and  gates  of  Tuscan 
medircval  cities,  see  Rohault  de 
Fleury,  La  Toscane  au  moyen  age, 

45- 
Clarac,  C.  de,  19. 
Clark,   W.,  and  Hutchinson,   J.   T.. 

trans.     ,S'tv  Gounod,  Mozart's  Don 

Giovanni,  64. 
Clarke,  J.  T.,  trans.,  44. 
Clarke   Mary  C, /r-tou.     See  Yicrhot, 

69. 


i 


78 


Index. 


Classic  and  romantic  schools,  con- 
test between.  See  Michel,  I.es 
chefs-d'ceuvredel'art  au  xix.  sitcle, 
28. 

Classical  antiquities,  atlas  of,  Schric- 
bcr,  12;  Harper's  dictionary  of,  14; 
dictionary  of,  Seyflfert,  15;  art  of 
mosaic  in,  see  Gerspach,  La  mo- 
sa  (jue,  41.  See  also  Gailhabaud, 
Monuments  anciens  et  modernes, 
<i;  also  Arch.X'olo(jy. 

Classical  architecture,  revival  of  in 
England,  see  Lnftie,  Inigo  Jones, 
and  Wren,  43;  Darnell,  London 
city  churches,  39;  carrying  on  of,  in 
Kastern  empire,  s.-e  Rssenwein,  Die 
Fortsetzung  cicr  Classisclien  Bau- 
kunst  im  ostrfiniischen  Rciche,  40; 
and  early  Christian,  Smith  and 
Slater,  46. 

Classical  sentiment,  survival  of  -ice 
Hamerton,  Present  state  of  the  fine 
art  of  France,  7. 

Claude  Lorrain,  Grahame,  23,  Mich- 
el, 28,  Pattison,  30,  Sweetser,  Arlist 
biographies,  36 ;  see  also  Gilbert, 
Landscape  in  art,  23. 

Clavichord.  See  Rimbault,  Piano- 
forte, 59. 

Clifment,  Chas.,  ig. 

Clement,  Clara  E.,  14,  19. 

Clt'inent,  F.,  and  Larousse,  P.,  73. 

Clodion,  Les  Adam  et,  Thinon,  36. 

Coffin,  W.  A.,  3,  19;  see  also  Modern 
French  masters,  29. 

Cohen,  G.,  trans.    Sec  Hanslick,  69. 

Coins,  Greek,  Gardner,  23;  collector's 
manual,  Humphreys,  25;  see  also 
Lccoy  de  la  Marche,  Les  sceaux,  27; 
Lenormant,  Monnaies  ct  mi'daiUes, 
27;  Saunier,  Augustin  Dupr^',  34. 

Cole,  A.  S  ,  trans.    See  Lefebure,  51. 


trans.    .SVv  Kreissle, 


,  trans. 

Cole,  Timothy,  19. 

Coleridge,  A.  D  ,  /> 
65. 

Collignon,  M.j  4,  19;  see  also  Rayct, 
O.,  and  Collignon,  52. 

Colonial  furniture,  Lyon,  51. 

Colonna,  Vittoria,  Harford,  7. 

Color,  Bracquemond,  17,  see  also 
Gambler,  Ministry  of  fine  art,  5; 
Japanese,  see  Anderson,  Japanese 
wood-engravings,  16. 

Columbia  University.  Avery  Archi- 
tectural Library  of,  38-39 ;  music 
collection,  see  Musici  Scriptores 
Graeci,  60. 

Colvin,  S.,  4  ;  ed..  see  Woltmann  and 
Woermann,  History  of  painting,  37. 

Composers,  famous,  and  their  works, 
Paine,  65;  see  also  Hanslick,  Con- 
certe,  Componiste  u.  Virtuosen,  71. 

Concerts,  Hanslick,  Gcschichte  clcs 
Concertwesens  in  Wien,  57,  Aus 
dem  Concertsaal,  71,  Concerte,  Com- 
poniste u.  Virtuosen,  71  ;  Kretzch- 
mar,  Fiihrer  durchdcn  Concertsaal, 
72. 

Constantinople,  Grosveiior,  fi.  Church 
of  Sancta  Sophia  in,  Lethaby  u  (/(/ 
Swainson,  42;  Alt-Christliche  Bau- 
denkmale  v.,  Salzenbcrg,  45. 

Consular  diptychs  of  the  iv.  and  v 
centuries.  See  Maskell,  Descrip- 
tion of  ivories  in  South  Kensington 
Museum,  51. 

Conversation  on  music,  Rubinstein, 
66. 

Conversations  in  a  studio.  Story,  13 

Conway  Kathenne  E.  See  Clement, 
19. 

Conway,  Sir  W.  M.,  4,  19. 

Cook,  K.  T  ,  4,  19. 

Cook,  Martha  W.,  trans.  SV  ■  Liszt, 
65. 

Copenhagen.  .SVf  Atkinson,  Art  tour 
to  northern  capitals  of  Europe,  2. 

Copt;c  churches  of  Egypt,  Butler,  39. 

Cordcr,  F.,  69. 

Cordova,  architecture  of.  .See  Franz- 
Pascha,  Die  Baukunst  des  Islam,  41. 

Corfu.  .See  Freeman,  Sketches  from 
th'j  subject  and  neighborlands  of 
Venice,  41. 

Cornelius,  P.  See  Pfoh',  Die  moderne 
Oper,  72. 

Cornell,  J.  H.,  69;  trans.,  see  Lang- 
hans,  56,  Benoit,  67,  Heintz,  67, 
Wolzogen,  68. 


Corot,  20,  Thomson,  36;  see  also  Blanc, 
Artistes  de  mon  temps,  3. 

Correggio,  Ricci,  32-33. 

Corroyer,  E.,  39. 

Costume  of  ancient  Egyptians,  see 
Erman,  Life  in  ancient  Egypt,  5; 
early  Venetian,  see  Molmenti,  La 
vie  privt'e  ii  Venise,  o;  value  of 
seals  for,  Lecoy  de  la  Marche,  Les 
sceaux,  27:  on  the  engraved  plates 
of  medix'val  tombs,  see  Macklin, 
Monumental  brasses,  28;  of  the 
Renaissance,  see  Molmenti,  Carpac- 
cio,  29;  historical,  Bonnard,  49, 
Racinet,  52;  media?val,  Dcmay, 
40;  ancient  Greek,  Evans,  49;  an 
cient  and  modern,  Hottenroth,  50; 
French,  Renan,  52;  see  also  Viollet- 
le-Duc,  Dictionnaire  raisonnd  du 
mobilier  Fran(;ais,  53;  collection 
illustrating,  in  South  Kensin;?ton 
Museum,  Rock,  52;  modern,  see 
Steele  uW  Adams,  Beauty  of  form 
and  grace  of  vesture,  53. 

Counterpoint,  fugue,  and  double 
counterpoint,  H;iiipt,69,  Prout,  70. 

Country  house  (The),  Mitchell,  43. 

Country  of  Horace  and  Virgil  (The), 
Boissier,  3. 

Country  places,  small.  Parsons,  44; 
beautifying  of,  see  Van  Rensselaer, 
.Art  out  of  doors  47. 

Couperin.    See  Rimbault,  Pianoforte, 

59- 

Courajod,  1  .,  20. 

Cousseinaker,  E.  de,  60. 

Couture,  T  ,  20;  see  also  De  Lostalot, 
Chef  d'cEuvres  de  I'art  au  xix. 
sii'cle,  21. 

Cowen.  .Sir  Willeby,  Masters  of  Eng- 
lish music,  67. 

Cox,  Kenyon,  20;  see  also  Modern 
French  masters,  29,  Smith,  Ameri- 
can illustrat(5rs,  35. 

Cra.ner,  piano  methods  of.  See  Kul- 
lak,  70 

Crane,  Writer.  See  Morris,  Arts  and 
crafts  essays,  51-52. 

Cranz.     .Sf.' Beethoven,  63. 

Crocker.  Annette  E.,  trans.  See 
Gounod,  64. 

Crotchets  and  quavers,  Maretzek,  58. 

Crowe,  Sir  Jos.  A.,  20;  and  Caval- 
caselle,  20. 

Crowest,  F  J.,  57,  64. 

(Trowninshield,  F  ,  20. 

Cummings,  W.  H.,  64. 

Cundall,  Jos  ,  21. 

Curtis-Cholmeley,  Counte.is  Isabel, 
trans.  See  Cattaneo,  L'architet- 
tura  in  Italia,  39. 

Curwen,  J.  S.,  70-71. 

Cust,  L.,  21. 

Cyclopaedias.  See  Johnson's  univer- 
sal cyclopa;dia,  Encylopxdia  Bri- 
tannica. 

Cyprus,  ancient,  see  Gardner,  New 
chapters  in  Greek  history,  5;  his- 
tory of,  .f(V  Perrot  ami  Cfiipiez, 
Histoire  de  I'art  dansranliquitt-,  11. 

Czerny,  piano  methods  of.  See  Kul- 
lak,  70. 

Dagnan-Bouvcrct,  Coffin,  ig. 

Dalmatia,  the  yuarnero  and  Istria, 
Jackson,  42. 

Damascus,  architecture  of  .SVc 
Franz-Pascha,  Die  Baukunst  des 
Is'am,  41 

Damascus  ware.  Fortnum,  50. 

Dance  (Tho),  history  of  in  Gcrriiany, 
Bochme,  (u'scliichte  des  Taiizes  in 
Deut.-,chland,  51  ;  in  the  xvi.  cen- 
tury, see  ('cllcr,  Les  origines  de 
I'opc'ra  et  li'  ballet  de  la  reine,  57. 

Daniell,  A.  E.,  35. 

Dargenty,  G  ,  21. 

Darwin,  C.  R  ,  21. 

Davillier,  liaron  C,  21. 

Davis,  .Uiss  L.  },  trans.  See  Miintz, 
La  tapisserie,  52. 

Dawn  ot  art  in  the  ancient  world, 
Conway,  4. 

Dawn  of  civilization,  Maspero,  9. 

Day,  C.  R.   61-62. 

Decamps,  Clement,  19. 

Dcccan  (Thei,  music  and  musical  in- 
struments of,  I.>ay,  61-62. 

De  Champeaux,  Alfr.,  21,  49. 


Deck,  T.,  49 

Decoration,  Gothic,  Gonse,  fi;  appli- 
cation of  art  to,  Ruskin,  12;  mural, 
Galland,  25. 

Decorative  arts,  minor  (department), 
48-54. 

Decorative  arts,  Blanc,  Grammaire 
des  arts  du  clessin,  3;  minor,  see 
Gonse,  Gothic  art,  6;  treatise  on, 
Bracquemond,  Du  dessin  et  de  la 
couleur,  i;;;  history  of,  De  Cham- 
peaux, 21;  in  England,  .«■<•  Destrce, 
Pre-Raphaelites,  22;  evolution  o.', 
Balfour,  47;  Decorazionee  Industrie 
artistiche,  Melani,  51;  Egyptian,  Pe- 
trie,  52;  dictionary  of,  Rouaix,  52- 
53;  monograph  on,  Sturgis,  53.  See 
also  .Mural  painting. 

De  Forest,  J.  B.,  4. 

De  Forest,  L.,  39. 

Degas.  .See  Lecomte,  L'art  impres- 
sioniste,  27;  also  Moore,  impressions 
and  opinions,  29. 

De  Goncourt,  E.  and  J.,  4. 

Deiters,  H.,  64. 

De  Kontski,  piano  methods  of.  .See 
Kullak,  70. 

De  Lahorcle,  Alex  ,  4. 

Delahorde,  Henri,  4,  21. 

Delacroix,  Eugine,  Veron,  36;  see 
also  Blanc,  Artistes  de  mon  temps, 
3  ;  De  Lostalot,  chef  d'lcuvres  de 
Part  au  xix.  sitcle,  21. 

Delano,  Aline,  trans.  See  Rubinstein, 
66. 

Delaioche,  Paul,  Rees,  32. 

Delineation.     See  Drawing. 

De  Lostalot,  Alfr.,21. 

Demay,  J.  (J.,  49. 

Deniniin,  A.,  49. 

De  Neuville.  .See  Hacon,  Parisian 
art  and  artists,  16. 

Denmark,  industrial  arts  of,  Wor- 
saae,  53. 

Dennie,  J.,  a. 

Dennis,  G.,  4. 

De  Pontes,  L.  D.,  21. 

De  I'ouvourville,  A.,  4 

Design,  and  color,  Bracquemond,  17; 
of  mosaic,  see  Gerspach,  La  nio- 
saiiue,  41;  elements  of  handicraft 
and,  Benson,  48;  application  of 
plant  forms  to,  see  Lilley  and  Midg- 
ley.  Studies  in  plant  form,  51. 

Designing,  principles  of,  see  Moore, 
Examples  for  elementary  practice 
in  delineation,  21;  decorative.  Crane, 
.v<r  Morris,  Arts  and  crafts  essays, 

5'-52- 
Desjardins,  A.,  21. 
Destri'c,  f).  G.,  21-22. 
Detaille,  E.     .SW"  B.icon,  Parisian  art 

and  artists,  16;  .Morin,  French  illus- 

tr.itors,  30. 
De  Wyzewa,  T.,  :'.-. 
Dialogo  dclla  niusica  antica   c  della 

moderne,  (ialilei,  57. 
Diaz.   .sVi-  De  Lostalot,  Chef  d'ceuvrcs 

dc  I'art  au  xix.  siecle,  .1. 
Dickinson,  E  ,  55. 
Dictionaries  of  art  (dep.irtincnt),  14- 

15 

Dictionaries  and  cncyciop.eili.is  ot 
music  (deparlinent),  7). 

Dictionaries,  (_'entury,  2,  Internation- 
al Webster,  2,  Ni'W  English,  2,  14- 
15,  Adeline,  14,  Bryan,  14,  Harper, 
14,  Seyflert,  15,  Smith,  Wayte,  nwii' 
Manndin,  15,  Viollct-le-Duc,  47,  53, 
Rouaix,  52-53. 

Didron,  A.  N.,  22 

DichI,  C.,4-5. 

Dies.     .Si-i'  Intaglio. 

Dilke,  Lady,  --,:   .vr 

Dionysms,  hymns 
63;  see  also  G.ililei,  Dialogo  della 
musica  antica  e  della  moderne,  57, 
Williams,  .Music  of  the  ancient 
Greeks,  61. 

Dippold,  G.  T.,  67. 

Difitychs,  consular,  of  iv.  and  v. 
centuries.  .SVi'  Maskell,  Descrip- 
tion of  ivories  in  South  Kensington 
Museum,  51. 

Dobsoii,  A.,  22. 

Doliine,  R.,  5. 

Dole,  N.  \]..tr,:>is.    .9t-c  Wolzogen,68. 

Domestic  archit<cture,  .tfi?  Homes  in 
city  i^nd  country,  25;  Essenwein,  Die 


al.\-o  Pattison, 
ot,    Bellermann, 


RomaniFChe  u.  die  Gothische  Daii- 
kunst:  der  Wfihnbau,  40;  Kerr,  The 
frcntleman's  house,  42;  in  Scotland, 
Macgibbon  and  Ross,  43;  old  cot- 
tage and,  Neville,  44;  in  EnRland, 
Parker,  44,  Parker  and  Turner,  44, 
Turner,  46;  in  the  West,  Root,  43; 
in  the  East  and  South,  Sturgis,  46. 

Donatcllo,  Miintz,  30. 

Donizetti.    Sec  Edwards,  Rossini,  f>\. 

O'OoKe,  M.  I..,  5. 

Uoria-l'amtilia  Galleries.  See  Morelli, 
Italian  painters,  30. 

Double  counterpoint,  theory  of  coun- 
tt-rpoint,  fugue  and,  Haupt,  fiy;  and 


canon,  Prout,  70. 
lylc,  R.  See  Sp: 
J':iii,  li,  33. 


Doyl 


iclman.  History  of 


Dracseke.  See  Fuller-Mait'.and,  Mas- 
ters of  German  music,  (14. 

Drama,  the  musical,  Schur  ■,  68. 

Dramatic  composition,  first  attempts 
at.  See  Reissmann,  Alljjcmcinc  (Ic- 
schiclite  der  Musik,  5''). 

Drapery.  See  Evans,  Chapters  on 
Greek  dress,  41). 


Drawing,  Hamerton,  ^4,  Sttirgis,  j'i; 
figure-,  Hatton,  24;  examples  for 
elementary  practice  in,  Moore,  jy; 


elements  of,  Ruskin  33;  Kearnint; 
to  draw,  Vi  illct-le-Duc,  3"^- (7-. 

Drawings,  of  Diirer,  Kphrussi,  :'.•. 
Scott,  34-35;  of  HIake,  Gilchrist,  23; 
of  Turner,  .(■■<■  Ruskin,  Harbours  of 
ICngland,  33;  of  Ruskin,  ivt'  Ruskin, 
Studies  in  both  arts,  14. 

Dresden  (lallery.  .SW  .Morelli,  Ital- 
ian oainters,  30. 

Dresel.  See  Apthorp,  Musicians  and 
music-lovers,  70. 

Dress,     .S'fV  Costume. 

Dresser,  Chr,,  1;. 

Drcxel  collection,  Lenox  I.ihr.iry. 
.Sir  Prefatory  note,  51,  Kiesewet- 
ler,  I'l,  Galilei,  57,  .Amint,  Gi,  Beet- 
hoven, 63,  Hombct,  64,  Carpani,  64, 
Gretry,  64,  VVagenseil,  03. 

Drury,  V..^  22. 

Duban,  I'.  .S'.-i-  Plane,  .\rlistes  de 
miin  temps,  3. 

Dubois.  .S<('  Ilervey,  Masters  of 
I'rench  music,  64. 

Du  .Maurier,  George.  .SV.'  Spielman, 
History  of  /'n  1:.  //,  35. 

Du  .Mont.    See  Rimbiault,  Pianoforte, 

Duprt',  Saunier,  34;  see  also  31anc,  .\r- 
tistes  de  mon  temps,  3. 

Duran  1,  J.,  nuns.    See  Taine,  t  ;. 

Durand  -  Ruel.  See  Lecorate,  Im- 
pressiimist  art,  27. 

Diirer,  Alberi,  Cust,  21,  Ephrussi,  22, 
Scott,  34-35,  Sweetser,  Artist  biog- 
raphies, 3*^1,  Thausing,  3''i. 

Durli.un  Cathedral,  Uillifigs,  yj. 

Durm,  }.,  40. 

Du  Sartel,  ().,  4Q. 

Dutch  etchers  of  xvii.  century  .V.,' 
Hamerton,  Etchings  of  Rembrandt, 
■■■\- 

Dutch  masters.  See  Cole,  Old  Dutch 
and  I'lemish  masters,  ly;  see  ,/A,> 
Holland. 

Dutch  school  of  art,  Alexandre,  13, 
Cole,  19,  Crowe,  20,  (iower,  23, 
Havard,  25;  see  also  Holland. 

Dwight,  J.  S.  .sv,'  Perkins,  C.  C,  58, 
Apthorp,  Musicians  and  music-lov- 
ers, 70. 

/>V'ii;/i/'s-  Journal  of  Music.  See 
Schindler,  66. 

Dyeing,  .k.'  Morris,  Arts  and  crafts 


Dyer,  T. 


essajMj,  51-52- 
"■,H.,5. 


Eastern  architecture.  See  Oriental 
architecture. 

Eastlake,  Lady.  See  Jamesonj  His- 
tory of  our  Lord  as  exemplihed  in 
works  of  art,  26. 

Eastlake,  Sir  C.  L,,  40. 

Eaton,  W.  See  Modern  French  mas- 
ters, 29. 

Ecclesiastical  architecture,  of  Scot- 
land, M;icgibbon,j«(^Ross,  43.  See 
also  Cathedrals,  Churches,  Sacred 
buildings. 

VA&y.Z.,  trans.    .Vf  Haupt,  60. 

Edtlinck,  G.,  Delaborde,  21. 


ImJe.x. 


Education  de  I'artistc,  Chcsneau,  3. 
Edwards,  Amelia  B.,  tra  ns.    See  Nlas- 
pero,  ArchJologic  Egyptienne,  6-9. 
Edwards,  C.  A.,  57, 
Edwards,  C.  L.,  62. 

Edwards,  ri.  S.,  57,  64,  71. 

Egypt,  life  in  ancient,  E-man,  5;  Mo- 
hammedan art  in,  see  Gayet,  L'art 
Arabc,  6;  modern  manners  and  cus- 
toms in.  Lane,  8  ;  history  and  ar- 
chieology  of,  M:'-S  lero,  9;  art  in  aii- 
cient,  Perrot  rt«(/Chipiez,  io-ii;a-t 
of  Saracens  in,  Poole,  11;  ten  years' 
di,'ging  in,  Petrie,  11  ;  art  in,  see 
Tarhell,  History  of  Greek  art,  13; 
sculpture  in,  see  Paris,  La  sculpture 
anti(|ue,^o,  Rcdford,  Sculpture,  32; 
ancient  Coptic  churches  of,  Butler, 
39;  origin  of  European  architecture 
In,  see  I'ergusson,  H  istory  of  archi- 
tecture of  all  countries,  ,)o;  ancient 
architecture  in,  .rtf  Smith  ami  Sla- 
ter, 46;  p  ittery  of.  Birch,  48;  decora- 
tive art  of,  Petrie,  52. 

Egyptian  music.  See  Rcissmann,  ,\1!- 
gemeine  Gcschichte  der  Musik,  s"); 
Kiesewetter,  Die  Musik  der  Araber, 
62. 

Ehlert,  L.,71. 

ICIeusinian  mysteries.  See  Gardner, 
New  chapters  in  Greek  history,  5. 

Elizabethan  architecture.  See  Har- 
ris, Three  periods  of  English  archi- 
tecture, 42;  Harrison,  Annals  of  an 
old  manor-house,  4.', 

Ella,  J  ,  71. 

Ellis,  A.  J.,  trans.  .SW-  Helmho'.tz, 
69-70. 

Ellis,  W.  .\  ,  trans.    See  Wagner,  Co. 

Elterlein,  K.  von,  71 

Emancipation  of  the  picture,  Hall- 
ward.  See  Transactions  of  the  Na- 
tional Association  for  the  Advance- 
ment of  Art,  53. 

Embroidery,  Sturgis,  53  ,  English,  see 
Alford,  Needlework,  48  :  and  lace, 
Lefebure,  51 ;  processes  in,  ifcLilley 
and  .Midgley,  Studicsin  planlform, 
51;  modern.  Turner,  jtv  Morris,  .'Vrts 
and  crafts  essays,  51-52. 

Emerson,  Alfr.,  5. 

Emoticms,  expression  of,  Darwin,  21. 

Enamel,  Rudler,  53,  Sturgis,  53;  Chi- 
nese, see  Paleologue,  L'art  Chiiiois, 
10;  Persian,  itft' Van  Dyke,  History 
of  painting,  36. 

Encaustic,  tiles,  see  Jewitt,  Half- 
hours  among  some  English  an- 
tiquities, 7;  painting,  jcf  Crownm- 
shield.  Mural  painting,  20-21. 

Encyclopaedia  Britannica.  .See  Col- 
vin,  4,  Murray,  10,  Sayce,  12,  Walts, 
14,   Hamerton,  24,   Middleton,  21, 

43,  Morris,  30,  Reid,  32,  Wilson,  37, 
Freeman,  41,  Freeman  and  Gard- 
ner,41,  Lewis, ((/(/Street, 42,  Morris 
and  Middleton,   44,  51,  Papworth. 

44,  Rudler,  53    Macfarren,  56. 
Encyclop.xdias    and    dictionaries  of 

music  (d^|>artment),  73. 

Engel,C.,  57,  62. 

/■:ni,'ineeriMi^  .tlai^azine.  .See  Sturgis, 
46. 

England,    harbours  of,    Ruskin.   3; 
landscape  gardening  in,  see  Hln'm 
field  and  Inigo,  39;  history  of.  Free- 
man, 41. 

English  antiquities,  Jewitt,  7. 

Englisli  architecture,  three  periods  of, 
Harris,  42;  rise  and  decline  of  mod- 
ern, Lofiie,  42  ■  domestic,  from 
Richard  11.  to  Henry  VIII.,  Parker. 
44;  from  Edward  I.  to  Richard  II., 
Parker  and  Turner,  44. 

English  art,  Kunst  u.  KUnstler  des 
Mittelalters  u.  derNeuzeit,  Dohrae, 
5;  Artistes  Anglais  contemporains, 
Chesneau,i8:  in  collect  ion  of  Charles 
L,  see  Phillips,  Picture-gallery  of 
Charles  I.,  31;  history  of  water- 
color  painting  in  England,  Red- 
grave, 31. 

English  music,  old,  popular,  Chap- 
pell,  61  ;  masters  of,  Willeby,  67I; 
see  Ills.'  Hognrth,  memoirs  of  the 
opera  in  England,  57;  also  British 
music. 

English  school  of  painting,  century  of 
painters  of  the,  Redgrave,  R.  and 


79 


S.,  32;  dictionary  of  artists  of  ...e, 
Redgrave,  32, 

Engravers,  Bryan,  14,  Beraldi,  17, 
Linton,  28,  Cole,  19;  see  also  Dela- 
borde,  Edelinck,  21 ;  also  Etchers. 

Engraving,  Sturgis,  36;  see  also  Dela- 
borde.  Etudes  sur  Ics  beaux  arts  en 
France  et  en  Italic,  4,  Hamerton, 
Present  state  of  the  fine  arts  of 
France,  7;  Japanese,  Anderson,  16; 
masters  and  masterpieces  of,Chapin , 
i3;  American,  see  Century  gallery, 
t3;  on  mediaival  tombs,  see  Macklin, 
monumental  brasses,  28.  See  also 
Etching,  Wood-engraving. 

Engravings,  American,  see  Koehler, 
American  art,  7,  Cole's,  19,  Dilrer's, 
21,  Hogarth's,  22:  after  Van  Dyck, 
sje  .Michiels,  Van  Dyck  et  scstMives, 
2j;  Lupton'a,  see  Ruskin,  Harbours 
of  England,  33. 

Enlart,  C.,  40. 

Ephrussi,  C,  22. 

Epidaurus,  discoveries  at.  .See  Gard- 
ner, -New  chapters  in  Greek  history, 
5- 

Episcopa!  crooks.  .See  Maskell,  De- 
scription of  ivories  in  South  Ker.- 
sington  Museum,  51 

Epochs  in  art,  (iothic,  xii.  century, 
see  Gonse,  L'art  Gothique,  6;  I'r. 
France,  sej  Lechevallier-Chevig- 
nard,  Lcs  styles  Francais,  8 ;  of 
the  XVII.  century,  see  LemoniMer, 
I->tudes  dart  et  de  I'histoire  d'art 
I'rani.ais  au  temps  de  Richelieu  et 
Mazarin,  8;  of  Charles  VIII.,  see 
Muntz,  La  Renaissance  en  Italic  et 
en  France,  9;  of  the  decline,  see 
Thinon,  Les  Adam  et  Clodion,  36, 
Wnlflfcn,  Renaissance  und  Barock, 
47,  the  romantic,  see  Vi'ron,  Eugene 
Delacroix,  36,  Italian  Romanesque, 
see  Cattarieo,  L'architettura  in 
Italia,  39;  Roman,  of  the  republic 
and  the  empire,  see  Martha,  Mani' 
el  d'archeoloL,'ie  Etrusque  el  Hj- 
maine,  8. 

Erk,  I..,  and  Biihme,  F.,  62. 

Erman,  A.,  5. 

Essenwein,  A.  von,  40. 

Etchers,  Haden,  24 ;  etching  ni  d, 
Hamerton,  24;  Dutch,  of  the  xv  i. 
century,  see  Hamerton,  Etchings  o.' 
Rembrandt,  24;  Licvre,  see  Mantz, 
Hans  Holbein,  28  ,  Callot,  see 
Vachon,  Jacques  Callot,  36.  See 
iilsn  Engravers. 

Etching,  Delaboide,  21,  Haden,  24, 
Koehler,  26;  see  also  Bracquemond, 
Du  dessin  et  de  la  couleur,  17; 
Chapin,  Masters  and  masterpieces 
of  engraving,  18;  in  America,  Hitch- 
cock, 25;  seeului  Koehler,  American 
art,  7;  in  England,  Wedmore,  37; 
see  also  Scott,  The  little  masters, 

35- 

Etchings,  o'  Rembrandt,  Haden,  24, 
Hamerton,  24;  fac  ".imiles  of  Van 
Dyck's,  .H-.  Michiels,  Van  Dyck  cl 
ses  eleves,  29.     .See  a  is  '  Prints. 

Etex,  Antoine,  Mangeant,  28. 

ICthenngton,  L.  M.,  trans.  See  Chcs- 
neau, La  peinture  Anglaise,  18. 

Etruria,  cities  and  cemeteries  of, 
Dennis,  4-  sculpture  of,  Paris,  30. 

Etruscan  architecture,  .Martha,  8 ; 
Durm,  Die  Baukunstder  Etrusker. 
40. 

Etruscan  art,  Dennis,  4;  and  archi- 
tecture, Martha,  8. 

Etruscan  pottery.  Birch,  48;  ,tc<' d/jo 
Robinson,  Vases  in  the  Boston  Mu- 
seum, 52. 

Euclide.3,  on  music  .See  Musici  Scrip- 
tores  Graci,  60. 

Europe,  art  tour  to  northern  capitals 
of,  .'itkinson,  2. 

European  architecture,  Sturgis,  46. 

Evans,  M   M.  {l.adv  Evans),  49. 

Evetts,  B.  T.  A.,  trans.  See  Babclon, 
Archeologie  orientale,  7. 

Excursions  iiiartand  letters. Story,  13. 

Excursions  in  Greece,  Diehl,  5. 

Expression  inart,,vc.-  Beard,  Action  in 
art,  16;  anatomy  and  philosophy  of. 
Bell,  17. 

Expression  of  emotions  in  man  and 
animals,  Darwin,  21. 


8o 


Index. 


Eye  (The).  See  Laugel,  A.,  L'optique 
et  les  arts,  8. 

Faccio.  See  Streatleild,  Masters  of 
Italian  music,  66. 

Fa  ence.    See  Pottery. 

Falrholt,  Costume  in  England.  See 
Prefatory  note,  48. 

Farrar,  F.  W.,  22. 

FaurCs  See  Hervey,  Masters  of 
French  music,  64. 

Fenollosa,  E.  F.,  22. 

Fergusson,  J.,  40-41. 

Ferrara,  history  of  painting  in,  from 
XIV.  to  XVI.  century,  Crowe  and 
Cavalcascllc,  20. 

Fclis,  F.  J.  See  Kiesewetter,  R.  G., 
rt«(/Fctis,  58. 

Ffoulkes,  Constance  J.,  trans.  See 
Morelli,  Italian  painters,  30. 

Fidiculis  bibliographia  (De),  Heron- 
Allen,  57. 

Fidii-re,  O.,  22. 

Fitcure-painting,  Brllcke,  The  human 
lij;ure,  18;  figure-painters  of  Hol- 
land, Gower,  23;  figure-drawing  and 
composition,  Halton,  24-25;  see  also 
Millet,  Some  artists  at  the  Fair,  9, 
Steele  «»;</ Adams,  Beauty  of  form 
and  grate  of  vesture,  53. 

Fillmore,  J.  C,  57;  see  Fletcher, 
Study  of  Omaha  Indian  music,  62. 

Finck,  H.T.,67.  71. 

Fine  art  (department),  1-15. 

Fine  art.    Si-e  Art. 

Fink,G.  W.,57. 

Fire,  avoiding  risk  of.  .SV<-  Vinllet-le- 
Duc,  Histoired'une  maison,  47. 

Fisher,  D.  H.,/>-rt«i.     .iVc  Uoissier,  3. 

Fisher,  R.,  22. 

Fitzwilliam  Museum,  Cambridge, 
catalogue  of  gems,  Middleton,  29; 
casts  in.  Waldstein,  37  ;  loan  collec- 
tion of  plate,  Foster  ami  Atkinson, 

5°. 

FlanJrin.  Sei  Blanc,  Artistes  de  mon 
temps,  3. 

Flemish  school  of  art,  Alexandre,  15, 
Cole,  19,  Conway,  19,  Crowe  <»«i/ 
Cavalcaselle,  2oj  Wauters,  introduc- 
tion of  landscape  in  the,  see  Michel, 
Etudessurrhistoiredel'art,29.  See 
also  Dutch  school  of  art. 

Flesche,  Francis  La.  See  Fletcher, 
Study  of  Omaha  Indian  music,  62. 

Fletcher,  A.  C.,62. 

Fletcher,  B.,  and  Fletcher,  B.  F.,  41. 

Fletcher,  W.  G.,  49-50. 

Florence,  guide  to  the  paintings  of, 
Karoly,  26;  paintmg  in,.t<c  La^nes- 
tre  ami  Ricntenberger,  Painting  in 
Europe,  27,  mornings  in,  Ruskin,  34. 

Florentine  school  of  art.  See  Mes- 
nard.  La  peinture  i  Siennc,  28. 

Folk-music  and  folk-song,  American 
Indian,  Baker,  61,  Boas,  61;  Negto, 
Allen,  Ware,  uml  Harrison,  61, 
Marsh,  61  :  Arabian  and  eastern, 
Kiesewetter,62;Bahaman,  Edwards, 
62 ;  Breton,  Villemarque,  Barzaz- 
Breiz,  63  ;  Canadian,  Gagnon,  62  ; 
Chinese,  Amiot,  61;  English,  Chap- 
pell,  61;  French,  Villemarque,  Bar- 
zaz-Breiz.  63  ;  German,  Erk  a  >ul 
Biihme,  6a,  see  also  Reissmann,  All- 

f:emeine  Geschichte  der  Musik,  56  ; 
ireek,  Kiesewetter,  Ueber  die  Mu- 
sik der  neureren  Griechen,62;  Gyp- 
sy, see  Liszt,  Des  Boh6miens  ct  tic 
leur  Musique  en  Hongrie,  62;  In- 
dian, Day,  61-62;  Irish,  Walker,  63  ; 
Russian,  Istomin  ami  Liitsh,  6z;  of 
savage  races,  scr  Wallaschek,  Prim- 
itive music,  ^13. 

Folk-song  and  national  music  (de- 
partment), 61-53. 

Forain.  :^ee  Morin,  French  illustra- 
torsi,  30, 

Foreign  parts,  James,  7. 

Forgues,  Eug.,  22. 

Forkel,  J.  N.,  55;  see  also  Prefatory 
note,  54 

Fiirstcr,  Ernst,  5. 

Fortnum.  C.  D.  E.,  22,  50. 

Fortresses  of  the  Middle  Ages.  See 
Esr.f^n.vein,  Die  Komanischeund  die 
Gothisc'ie  Baukunst:  die  Kriegs- 
baukunst,  40.  See  also  Churches, 
Castles.  Military  architecture. 


Fortuny,  Davillier,  21. 

Foster,  Mrs.,  trans.     .'>ee  Vasari,  13. 

Foster,  J.  E.,  a  mi  Atkinson,  T.  D.,  50. 

Fra  Bartolommeo.  See  Rartolom- 
meo,  /'mi. 

France,  antiquities  of,  Reinach,  n; 
see  also,  Reinach,  Roman  sculpture, 
32. 

France  artistique  et  monumental, 
Havard,  42. 

Francis  I.  .SV^  De  I.aborde,  La  Re- 
naissance des  arts  ii  la  cour  de 
France,  4. 

Franck.  See  ttcrvey.  Masters  of 
French  music,  64. 

Franz.  See  Apthorp,  Musicians  and 
music-lovers,  70. 

Franz- Pascha,  41. 

Frederic  1 1^  arts  at  the  court  of.  See 
Michel,  Etudes  sur  I'histoire  de 
Part,  28. 

Freeman,  E.  A.,  41. 

French  Academy  and  its  schools  of 
instruction.  See  Stranahan,  His- 
tory of  French  painting,  35-36. 

French  architecture.  Chateau,  39,  .u-e 
also  Havard,  La  France,  42;  origin 
of  Gothic  architecture  in,  Enlart, 
40;  in  development  of  Gothic  archi- 
tecture, Moore,  43-44;  index  to,  from 
the  XI.  to  XVI.  century,  see  Sabine, 
Table  analytique,  45  ;  see  also 
France,  antiquities  of. 

French  art,  Brownell,  3,  DelaL  rde, 
4,  Hamerton.  7,  Proust,  11;  styles 
of,  Lechavellier- Chevignard,  8; 
Kunstu.  Klinstlerdes  Mittelaiters, 
Diihme,  5,  see  also  Rosenberg,  Ge- 
schichte dir  modernen  Kunst,  12; 
history  of,  Alexandre,  15-16,  Stran- 
ahan, 35-36;  Renaissance  of,  Palti- 
son,  10,  Delaborde,  4;  au  temps  de 
Richelieu  et  Mazarin,  Lemonnier, 
8;  Renaissance  A  I'epoquede  Charles 
VIII.,  Mllntz,  9;  Parisian,  Bacon, 
16;  of  Delacroix  and  Regnault,  De 
Lostalot,  21,  masterpieces  of,  Lc- 
fort,  27;  in  the  reign  of  Louis  XV., 
see  Mantz,  Fran<;ois  Boucher,  28; 
from  Ingres  to  Delacroix,  .ft'  Mich- 
el, Chef  d'le'.ivres,  28;  modern  mus- 
ters of,  see  Modern  French  masters, 
'29. 

French  bookbinding.  .Tec  Fletcher, 
Bookbinding  in  England  and 
France,  49-50. 

French  costume,  Renan,  52;  see  aiso 
Viollet-le-Duc,  Dictionnaire  rai- 
sonn^  du  mobilier  Francjais,  53. 

French  illustrators,  Morin,  30. 

French  music,  history  of,  jcc  Brendel, 
Geschichte  der  Musik  in  Italien, 
Deutschlandu.  Frankreich,  55;  pres- 
ent state  of,  Burney,  56-57;  and 
opera,  Hogarth,  57,  Celler,  57;  stud- 
ies in,  Schletterer,  59;  popular,  of 
Brittany,  Villemar<|ue,Barzaz-Breiz, 
63;  masters  of,  Hervey,  64;  and 
manners,  Chorley,  70. 

French  traits,  Brownell,  3. 

Frescobaldi.  See  Rimbault,  Piano- 
forte, 59. 

Frescoes,  Wilson,  37;  "spirit-fresco" 
process,  see  Gambicr,  Ministry  oi 
fine  art,  5;  of  Raphael,  see  (iood- 
year,  Roman  and  medii'val  art,  6; 
Florentine,  jic  Karoly, (iuide  to  the 
paintingsof  Florence,  26;  of  Correg- 
gio,  see  Ricci,  Antonio  Allegri  aa 
Correggio,  32-33  ;  of  Giotto,  see 
Ruskin,  Giotto  and  his  works,  33. 
See  4i/u'  Mural  painting,  Tempera. 

Fringing.  See  Walker,  Varied  occu- 
pations in  stringwork,  53. 

Friuli,  history  of  painting  in,  from 
XIV.  to  XVI.  century,  Crowe  <««.«■ 
Cavalcaselle,  20. 

Fnzzoni,  Gustave,  5. 

From  the  tone  world,  Ehlert,  71. 

Fromentin,  Eug. ,  5,  22;  Gonse,  23. 

F")St,  A.  B.  See  Smith,  American 
illustrators,  35. 

Frost,  H.  F.,64. 

Frost,  W.  H.,67. 

Frothingham,  A.  L.  Stv  Marquaiid, 
A.,  nn,i  Frothingham,  28. 

Frothingham,  A.  L.,j'  ,  5. 

Frothingham,  Afiss,  trans.  See  Col- 
lignon,  Phidias,  19. 


Fugue,  Prout,  70;  and  counterpoint,, 
tneory  of,  Haupt,  69. 

FuUer-Maitland,  J.  A.,  64,  <■</.,  le* 
Deiters,  64,  Streatfcild,  72;  trans.. 
See  S pitta,  66. 

Furniture,  Sturgis,  ^3;  Gothic,  .tee 
Gonse,  L'Art  Goihique,  6;  of  xvii., 
xviii.,  and  xix.  centuries,  De 
Champeaux,  49;  arts  of,  Havard,  50; 
colonial,  of  New  England,  Lyon, 
51;  and  the  room.  Prior,  see  Mor- 
ris, Arts  a-id  crafts  essays,  51-52; 
ancient  and  modern,  in  South  "Ken- 
sington Musoum,  Pollen,  52;  dic- 
tionary of  French,  Viollet-le-Duc, 

53- 
Furtwilngler,  A.,  23. 

Gabrieli,A.  .SVf  Winterfeld,   onannes 

Gabrieli,  59. 
Gabrieli,  Johannes,  Winterfeld,  59. 
Gage,  W.  A.,  trans.    See  Lampadius, 

Gagnon,  E.,  62. 

Gailhabaud,  J.,  41. 

Gainsborough,  Armstrong,  16. 

Galilei,  v.,  57;  see  also  Bellerman,  63. 

Galland,  Pierre  Victor,  Havard,  2^. 

Galleries,  Boston  Museum  of  I'ine 
Arts,  Robinson,  52 ;  Boston  Public 
Library,  Fenollosa,  22;  Borghesc, 
Morelli,  30;  British  Museum,  Fish- 
er, 22;  Chanfilly,  Gruyer,  23;  Doria- 
Pamtilia,  Morelli,  30;  Dresden, 
Morelli,  30;  Fitzwilliam  Museum, 
Waldstein,  37,  Foster  nwi/Atkinscm, 
50:  Louvre,  De  Pouvourville,  4 
Clarac,  19,  Couraiod,  20,  (iruyer,  23, 
Lafenestre  ami  Richtenberger,  27; 
Luxembourg,  Benedite,  17  ;  Metro- 

golitan.  La  Farge,  27,  Brown  and 
lrown,6i;  Munich,  Morelli,  30;  Na- 
tional, Cook,  19,  Moore,  2q  \  South 
Kensington,  Smith,  12,  rortnum, 
22,  50,  Evans,  49,  Maskell,  51,  Pol- 
len, 52,  Rock,  52;  Venetian  Academy 
of  Fine  Arts,  Ruskin,  34. 

Galilean  chant.  See  Pal^ographie 
Musicale,  58. 

Gambler,  P.  T.,  5. 

Gardens.    See  Landscape  gardening. 

Gardner,  E.  A.,  23. 

Gardner,  Percy,  5, 23,  see  also  Schreilv 
er.  Atlas  of  classical  anti(|uities,  12. 

Garnier,  E.,  50. 

Gaudentius,  on  music.  .Sir  Musict 
Scriptores  Groeci,  fw. 

Gavarni,  P.,  P'orgues,  22. 

Gayet,  A.,  6. 

Gazefta  Musicale  di  Milano.^  73. 

Geddes.  See  Wedmore,  Etching  in 
England,  37. 

Gems,  engraved,  Babelon,  16  •  l.ecoy 
de  la  Marche,  Les  sceaux,  27,  see 
also  Babelcm,  Archieologic  orien- 
tale,  2  ;  Greek,  see  .Murray,  Hand- 
book of  Greek  aicha;ology,  10;  clas- 
sical, Middleton,  2;. 

Genoa,  buildings  of  the  Roii.an  lime 
and  the  .Middle  Ages  in.  See  Mac- 
gibbon,  Architecture  of  Provence 
and  the  Riviera,  43. 

German  art,  Kunst  und  Klinstlerdes 
MittelaUersuiulderNeuzeil,I)ohnu- 
s;  Denkmale  deutscher  Baukunst, 
BiUlnerci  und  Malcrci  v.  Einf..hr- 
ung  des  Christeiilliunis  hisauf  die 
neuste  Zeit,  Filrster,  5  ;  Geschichte 
der  deutscher  Kunst  v.  den  friilieit- 
e  n  Zeiten  bis  zur  Gegen  wart ,  Lubke, 
8;  see  also  Rosenberg,  Geschicliten 
der  Modernen  Kunst,  !-•;  Crowe, 
H.-indbnok  of  painting,  2i>. 

German  music,  history  of,  Brendel, 
Geschichte  der  Musik  in  Italien, 
Deutschland  u.  Frankreu  li,  55; 
Boehnie,  Geschichte  des  T.inzes  in 
Deutschland,  61  ;  i)resent  state  nf, 
Burney,  36-57  ;  and  opera,  Hogarlh, 
57  ;  and  concerts,  sec  Hanslick, 
Geschichte  des  Concertwcsens  in 
Wien,  57;  and  song,  Reissmann,  Das 
Deutsche  Lied,  5S  v,,  Krk  and 
Biihme.  Deutsche  I.iederhort,  62 ; 
religious,  in  connectio  1  with  the  de- 
velo|)ment  of  the  people,  Schlet- 
terer, Das  Deutsches  Slngspiel,  59; 
m.isters  of,  Fiiller-Maitland,  64; 
moJern,  Chorley,  ^y.  and  manners. 


Chorlcy,  to;  •""  the  Hunslick,  71, 
Holmes,  Ramble  amontj  the  musi- 
cians of  Germany,  72. 

Gt'rome,  J.  I..,  Low,  28. 

Gerspach,  E.,  41. 

Oevaert,  F.  A.,  60,  60;  see  also  Am- 
bros,  Geschicte  der  Musik,  s5. 

Gibson,  \V.  H.,y. 

Gilbert,  J.,  ?j. 

Gilchrist,  Alex.,  23. 

Giotto,  and  his  works  irn  Padua,  Rus- 
kin,  33. 

Glasjnapp,  C.  F.,  67. 

G!asf,  Cninese,  set  Pal^olopue,  I-'art 
Cliinois,  io;painted,  jfc  Merson,  I-es 
vitraux,  43;  stained,  xee  Gonsc,  L'art 
Gothique,  6,  Jewitt,  Half-hours 
amonf;  some  Knjf.  antiquities,  7;  col- 
ored prints  of,  .'i'e  Harrison,  Annals 
of  an  old  manor-house,  42;  in  artistic 
desitrn,  Sturiris,  53;  sre  niui  HavanI, 
Les  arts  dc  ramcublemcnt :  la  vcr- 
rerie,  50. 

Gloss;iries  (department),  14-15. 

Gloucester  Cathedral.  -SVf  Gambier, 
Ministry  of  line  art,  5. 

Gluck.and  the  opera,  Marx,  ^5,  New- 
man, 65. 

Godard.  .SVc  Hervey,  Masters  of 
I'rench  music,  G^. 

Golden  Kate,  .bfc  Kuskin,  Mornings 
in  I'lorcnce,  31. 

Goldmark.  .see  Fuller-Mailland,  mas- 
ters of  German  music,  64. 

Goldsmiths'  work,  in  South  Kensing- 
ton Museum,  Pollen,  52;  in  the  Mid- 
dle A(,'es,  iee  Viollet-le-Duc,  Dic- 
tionnaire  raisonnd  du  mobilier 
Frani;ais,  53 ;  see  also  Saunier,  Au- 
gustin  Dupr^,  34. 

Gonse,  I..,  fi,  23;  see  also  Proust, 
I.'art  Francais,  11. 

Goodyear,  VV.  H.,  6,  41. 

Gothic  architecture,  (ionse,  6,  Cor- 
royer,  39;  plea  lor  revival  of,  Kus- 
kin, 12;  and  Romanes'iue,  see  Cor- 
royer.  Description  de  I'Abbaye 
Mont  St.  Michel,  39;  from  the  Ital- 
ian point  of  view,  see  Hoito,  Archt- 
tettura  del  medio  evo  in  Ualia,  39; 
history  of  revival  of,  Kastlake,  40, 
see  also  Dillings,  Architectural  il- 
lustrations, 39,  Lewis  ami  Street, 
Architecture,  42  ;  French  origin  of, 
Enlart,  40;  modern,  Jackson,  42; 
development  and  character  of, 
Moore,  43-44 ;  and  Renaissance, 
Smith  at:,f  Poynter,  45-46;  in  Spain, 
Street,  46;  of  North  Italy,  .v<?i?  Street, 
Brick  and  r  irble  in  the  Middle 
Ages,  46.    .9     also  Gothic  vaulting. 

Gothic  art,  G(  .ne,  6,  j^*  also  Gonse, 
La  sculpture  Fran^aise,  23 ;  from 
the  Italian  point  of  view,  see  Roito, 
Archilettura  del  medio  evo  in 
Italia,  t9. 

Gothic  vaulting,  Willis,  47,  Viollet- 
le-Duc,  Knfetlens  sur  I'archilect- 
urc,  47,  Moore,  Development  and 
character  of  Gothic  architecture, 
43-44,  Sturgis,  European  architect- 
ure, 46. 

Gounod,  Charles  Francois,  autobi- 
ography, f>4  ;  see  aiso  Hervey,  Mas- 
ters of  French  mu^ic,  64. 

Gow,  (i.  C,  69. 

(iower,  /.or,/  U.,  23. 

Grahame,  G.,  23. 

Granada,  architecture  of.  See  Franz- 
Pai-cha,  Die  Haukunstdes  Islam, 41. 

Grand-Gri'ce  (La),  Lenormant,  8. 

Grandidier,  E.,  50. 

(iraphic  arts,  Hamerton,  24. 

Graun.  .'■<<•  Bitter^  Beitrage  zur 
Geschichte  des  Oratoriums,  56. 

Graves,  R.  K.,  eil.  See  Dictionary  of 
painters  and  engnavers,  14. 

Greece,  excur  ions  in,  Dichl,  5 ;  re- 
cent excavations  in,  Gardner,  5; 
history  of  art  in  (irimitive,  Perrot 
ii  ml  Chipiez,  II  ;  philosophy  of  art 
in.  Tame,  13. 
Greece,   (ireater  (La    Grand-Gri-ce), 

I.enormant,  8. 
Grri-k  antiquities.    See  Antiquities. 

Greek  archeology.  See  Brunn, 
Griechisclie  Kunstgeschichte,  3, 
Collignon,  4,  Gardner,  5,  Murray, 
10,  Paris,  30.    Ste  also  Greek  an. 


//h/rx. 


Greek  architecture,  Marquand,  43 
Sturgis,  46 ;  cyclopiedia  of  works 
of,  Longfellow,  43 ;  ancient,  see 
Smith  do./ Slater,  Architecture,  clas- 
sical and  early  Christian,  46;  see  al.w 
Durm,  Die  Baukunst  der  Griechcn, 
40. 

Greek  art,  Brunn,  Griechische  Kunst- 
(;eschichte,  3;  introductory  studies 
in,  Harrison,  7,  24 ;  studies  in.  Pa- 
ter, 10;  history  of,  Tarbell,  13.  See 
nlio  Greek  sculpture,  Mycena-an 
age. 

Greek  coins,  type;;  of^  Gardner,  23. 

Greek  dress,  cnapiersi  n,  Evans,  49. 

Greek  lines  and  other  architectural 
essays.  Van  Brunt,  46-47. 

Greek  music,  ancient,  Musici  Scrip- 
tures Gra;ci,  60,  Paul,  60,  Will- 
iams, 61,  Westphal,  61,  Kiesewet- 
ter,  62 ;  hymns  of  Dionysius  and 
Mesomedes,  Bellermann,  60,  tee 
n/sn  Galilei,  57,  Williams,  61. 

Greek  private  life,  White,  14. 

Greek  sculpture,  masterpieces  of, 
FurtwUngler,  23  ;  handbook  of, 
Gardner,  23;  select  passages  illus- 
trative of,  Jones,  26;  nistory  of,  Col- 
lignon, 19,  Murray,  30,  Overbeck, 
Geschichte  der  Griechischen  Plas- 
tik,  30;  ancient,  Redford,  32;  intro- 
duction  to,  Upcott,  36  See  also 
Greek  archieoFogy,  Greek  art, 

Greek  studies,  Pater,  10. 

Greek  vases,  in  the  Boston  Museum, 
Robinson,  52;  see  aiso  Birch,  His- 
tory of  ancient  pottery,  48. 

Gregorian  chant,  see  Reissmann,  All- 
gemeine  Geschichte  der  Musik,  56, 
Pak'ographie  Musicale,  58,  Gevaert, 
60,  Lambillotte,  60. 

Gri'try,  A.  V..  M..  64. 

Griffin,  Sir  Lepel,  41. 

Grimm,  H.  F.,  6. 

Gros,  liarnii,  Dargcnty,  21. 

Grosvenor,  E.  O.,  6. 

Grove,  Sir  G.,  71,  73 ,  see  also  Beet- 
hoven, 63,  67,  Jahn,  64,  Rockstro,  66, 
Kreiiisle,  65. 

Growoll,  .\.  S'ee  Prideaux,  HTstorical 
sketch  of  bookbinding,  52. 

Gruyer,  F.  A.,  6,  23. 

Guinrey,  Jul..  23-24,  50. 

Gwilt,  J.,  41. 

Gypsy  music.  See  Liszt,  Des  Bohe- 
miens  et  de  leur  musuiue  en  Hon- 
grie,  62. 

Hadcn,  F.  S.,  24,  Wedmore,  37. 

Hadow,  W.  H.,  71. 

Half-hours  among  some  English  an- 
tiquities, Jewitt,  7. 

Hall,  Florence  P.,  trans.  See  Jul- 
lien,  67-68. 

Halle,  Adam  de  la,  Coassemakcr,  60. 

Hall  ward,  R.  See  Transactions  of  the 
National  Association  for  the  Ad- 
vancement of  Art,  53. 

Hamerton,  P.  G.,  6-7,  24. 

Hamlin,  A.  D.  F.,  41-42. 

Handel,  G.  F.,Chrysander,  64,  Rocks- 
tro, 66,  Schoelcher,  66j  sie  n/.\,'  Bit- 
ter, Beitrage  zur  Geschichte  des 
Oratoriums,  56;  Rimbault,  Piano- 
forte, 59. 

Handel  and  Haydn  Society  of  Bos- 
ton, history  of,  Perkins. i«(/Dwight, 

Handicraft  and  design,  elements  of, 
Benson,  48. 

Hanslick,  E.,  57,69,  71-72. 

Harbours  of  England,  Ruskin,  33. 

Harford,  J.  S.,  7. 

Harmony,  Prout,  70;  for  teacher  and 
pupil,  Brockhoven,  69;  and  metre, 
Hauptmann,  69;  manual  of,  Jadas- 
sohn, 70,  Richtcr,  ^o. 

Harper,  C.  G.,  24. 

Harps,  Irish.     St, 

Harpsichord.     Sei 


forte,  5^,. 
Harris,  T.,  42. 
Harrison,  F.,  42. 
Harrison,   Jane    E., 

Paris,  30. 
Harrison,  Lucy  M. 

F.,6i. 
Hart,  G.,  57. 
Hatton,  R.  G.,  24-25. 


Walker.  ■  j. 
Rimbault,  Piano- 


7,    34;   <•(/.,  see 
See  Allen,  W. 


Artns  and 
Hermann, 
See  Jamc- 


mai.son,    Viollet-le- 


81 


Haupt,  A.,  42,  69. 

Hauptmann,  M.,  6g. 

Havard,  H.,25,  42,  50. 

Hawkins,  .S/>- J.,  55, 

Haydn,  Joseph,  Bombct,  6<,  Carpani, 
64,  Nohl,65,  Pohl,66,  Townsend,67. 

Head,  P.  R.  See  Poynter,  E.  J.,  an,l 
Head,  31. 

Healy,  G.  P.  K.  See  Modern  French 
masters,  29. 

Heathcote,  W.  F..,  trans.  See  Haupt- 
mann, 69. 

Heaton,  .i/rs.  C,  25. 

H  cbre  w  music,  A  rends,  60,  Saalschutr, 
00-61;  .di'  ,ilsn  Reissmann,  Allge- 
meine  Geschichte  der  Musik,  56. 

Hebrew  poetry.  .V,-,'  Hutchinson, 
Music  of  the  Bible,  58. 

Heintz,  A.,  67. 

Helbig,  W.,  7,  a  nil  Lanciani,  7. 

Helmlio'tz,  H.  L.  F.,  69-70;  see  also- 
Broadhouse,  69. 

HemanSj  C.  I.,  25. 

Henderson,  VV.  J.,  55, 

Heraldry.      See    Boutell, 
armour,  49. 

Hermann.     See    Mendel, 
anil  Reissmann,  A.,  73. 

Hermits,  legends  of  early.    _      

son.  Sacred  and  legendary  art,  26. 

Heron-Allen,  E.,  57. 

Hervey,  A.,  64. 

Herzogenbcrg.  .V,c  Fuller-Maitland, 
Masters  of  German  music,  64. 

Hiatt,  C.p25. 

Hildebrand,  H  ,  50. 

Hill,  Emilyj  tr,ins.  See  Karasowski, 
65,  Elterlein,  71. 

Hipkins,  A.  J.,  57;  see  also  Day, 
Music  and  musical  instruments  61 
Southern  India  and  the  Deccan, 
61-62. 

Hispano-Moresco  ware,  Fortnum,  50. 

Histoire  d'un  dessinateur,  Violiet-le- 
Duc,  36-37. 

Histoire    d  unc 
Due,  47. 

Historical  art.  .Tiv  Hamerton,  Man 
in  art,  24;  Dargcnty,  Baron  Gros, 
21  ;  value  of  seals  in,  see  Lecoyde 
la  Marclie,  Les  sceaux,  27  interest 
of,  .v(v  Macklin, Monumental  brasses, 
28;  tivii/.w  Military  painting. 

History,  verification  of  ancient,  see 
Garclner,  New  chapters  in  Greek 
history,  5;  inseparable  from  fine  art, 
.v<<-  Maspero,  Dawn  of  civilization,!). 

History  of  our  Lord  as  exemplified  in 
works  of  art,  Jameson,  26. 

Hitchcock.  J.  R.  W.,  25. 

Hoebcr,  A.  See  Modern  French 
masters,  29. 

Hofmann.  .Viv Fuller-Maitland,  Mas- 
ters of  German  music,  64. 

Hofmeister.    See  Beethoven. 

Hogarth,  G.,  '.y. 

Hogarth,  William,  Dobson,  22;  see 
n/so  Phillips,  Antoine  Watteau,  31 

Hohenstein,  M.  da.  See  Jaccaci, 
Italian  posters  and  music-book  cov- 
ers, 25. 

Holbein,  Hans,Cundall,  2i„Mantz,  28. 

Holland,  old  masters  nf,  Fromentin, 
22;  figure  painters  of,  Gower,  2U 
art  of,  Havard,  25;  see  also  Dutch 
school  of  art. 

Holmes,  E,,  64,  72. 

Holmos,  kachelS.  R.,  ,;>/</ Holmes, 
Eleanor,  trans.     See  Berlioz,  63. 

Homer,    W.       See   Smith,  American 

illustrators,  35. 
Homeric  antiquities,  Seymour,  12. 

Homeric  poems  and  recent  discover- 
ies. See  Gardner,  New  chapters  of 
Greek  history.  5. 

Homes,  Jajanese,  Morse,  9;  in  city 
and  country,  25  ;  see  also  Domestic 
architecture. 
Hope,  R.  C.,60. 

Hopes  and  fears  for  art,  Morris,  9,  51. 
Hiipfner,  Th.,  .!5. 
IJopkins,  A.  A, .11'.    .^fc  Vasari,  Live.5 

of  painters.  13. 
Hopkins,  E.  J.,  ami  Rimbault,  E.  F., 

57-58. 
Horace,  country  of,  Boissier,  1 
Hottenroth,  F  ,  50. 

Ilouses,  Sturgis,  46 ;  Gentleman's, 
Kerr,  42  ;   country,    Mitchell,   43 ; 


82 


Index, 


■'  52- 
Hutton,  L.     ^<'<' Clement,  C.  E.,  rtwi/ 


suburban,  Price,  44 ;  western  city. 
Root,  45;  eastern  and  s  luthern  city, 
StufKis,  4f);  Histoire  d'une  maison, 
Viollet-Ie-Duc,  47;  interior  decora- 
tion of,  sii'  lilanc,  Grammairc  des 
arts  decoralifs,  49.  ^f,-  also  Do- 
mestic architecture. 

How  to  listen  to  music,  Krehbiel,  70. 

Howe,  W.  H.  ,iii'  Modern  French 
masters,  ig. 

Hueffer,  F.,  Irans.  S,e  Wagner, 
Correspondence  of  Warner  and 
l-iszt,  f.8. 

Human  finure  (The),  Brllcke,  18. 

Hummel,  piano  methodsof.  .Si-i  Kul- 
lak,  70, 

Humphreys,  H.  N.,  25. 

Hungarian  music.  .^<•<■  I.iszt,  Des 
Bohcmiens  ct  de  leur  musique  en 
Hongrie.  62. 

Hunt,  H.G.  n.   55-56. 

Hunt,  W.  M.,  25.  ■>'■'•  'lAo  Trans- 
actions of  the  National  Association 
for  the  Advancement  of  Art,  53. 

Huntini;  in  the  Middle  Aj{es  m 
France.  Set-  Viollct-le-Duc,  Dic- 
tionnairc  raisonnti  du  mobilier 
Francais,  53. 

Hurl),  Estelle,  ,;i.  Si-r  Jameson,  Sa- 
cred and  legendary  art,  26. 

Huss,  G.  M.,  42. 

Hutchinson,  E.,  5 

'lutton,  L. 
Hutton,  14 

Hymns  of  Dionysiusand  Mesomedes, 
Bellcrman,  60;  sec  also  Galilei,  57, 
Williams,  61. 

Iconography,  Christian.  See  Pcrati', 
L'archeologie  Chn'tienne,  10;  Cle- 
ment, Handbook  of  Christian  sym- 
bols and  stories  of  the  saints,  19  ; 
Didron,  Manuel  dMconotraphie 
Chretienne,  22;  Farrar,  Life  of 
Christ  as  represented  in  art,  22; 
Hemans,  History  of  raediicval 
Christianity  and  sacred  art,  25; 
Hiipfner,  Heiligen  in  der  Christ- 
lichen  Kunst,  25;  Jameson,  Sacred 
and  legendary  art,  26 ;  Lindsay, 
Sketches  of  the  history  of  Christian 
ail,  27 

Ideal  in  art.  See  Taine,  Lectures  on 
art,  13. 

Ideality  in  Greek  art.  See  Harrison, 
Introductory  studies  in  Greek  art, 
24- 

Illuminated  manuscripts.  See  Manu- 
scripts. 

Illustration,  Sturgis,  36 ;  modern, 
Pennell,  31 ;  American  of  to-day. 
Coffin,  19;  see  also  Black  and  white 
work,  Book-illustration. 

Illustrators,  American,  Smith,  35 ; 
French,  Morin,  30 ;  see  also  Black- 
burn, Randolph  Caldecott,  17;  Lay- 
ard,  Life  and  letters  of  Charles 
Samuel  Keene,  27. 

Illyria,  coast  of.  See  Freeman, 
Sketches  from  the  subject  and 
nei^hborlands  of  Venice,  41. 

Imatfination  in  landscape  painting, 
Hamerton,  24. 

Imitative  art.  Dyer,  5. 

Impressionism,  Sturgis,  36;  see  also 
Hamerton,  Present  state  of  the  fine 
art  of  France,  7,  Thomson,  Corot, 

Impressionists.  See  Lecomte,  L'art 
impressionniste,  27;  Beckwith,  Ed.. 
ouard  Manet,  16;  Child,  Art  and 
criticism,  18. 

Impressions  and  opinions,  Moore,  2.3. 

India,   industrial  arts  of,   Birdwouu, 

Indian  aichiteclure,  domestic,  De 
Forest,  39-40;  history  of,  Fergusson, 
41 ;  famous  monuments  of.  Griffin, 
41;  see  also  Le  Bon,,Les  monuments 
derinde,42. 

Indian  musii  and  musical  instru- 
ments, Day,  61-62;  S':e  also  Reiss- 
niann,  Allgemeine  Geschichte  der 
Musik,  56. 

Indians,  American.  See  American 
Indir.ns. 

Indo-Chinese  art,  De  Pouvourville,  4; 
see  also  Chinese  art. 

Industrial  arts  of  Japan,  Dresser,  5 ; 


of  India,  Bird  wood,  49  ;  historical 
sketches  of,  Evans,  49 ;  of  Scandi- 
navia in  the  pagan  time,  Hildc- 
brand,  50;  of  Spain,  Riafio,  52;  of 
Denmark,  Worsaae,  53.  See  also 
Ruskin,  Two  paths,  12;  Morris, 
Arts  and  crafts  essays,  51-52. 

Indy,  d'.  See  Hervcy,  Masters  of 
French  music,  64. 

Inigo,  T.  See  Blomfield,  R.,  and 
Inigo,  39. 

Insignia,  royal,  noble,  and  clerical. 
See  Lccoy  de  la  Marche,  Les 
Kceaux,  27.' 

Instrumental  music,  beginnings  of,  see 
Kcissmann,  Allgemeine  Geschich- 
te der  .Musik.  56;  history  of  in  the 
XVI.  century,  VVasielewski,  59. 

Instrumentation,  Prout,  70;  and  or- 
chestration, modern,  Berlioz,  69 ; 
new  treatise  upon,  Gevaert,  69. 

Instruments,  musical.  See  Musical 
instruments. 

Intaglio.    See  Gems,  Seals. 

Intellectual  life  (The),  Hamerton,  6. 

Ishatii,  N.  M.,  and  Brown,  A.  F.,  43. 

Isham,  S.  See  Modern  French  mas- 
ters, 29. 

Istria,  Dalmatia,  and  the  Quarnero, 
Jackson,  42. 

Italian  architecture,  Melani,  43;  in 
the  Middle  Ages,  Boito,  39;  from 
the  VI.  to  the  xi.  century,  Cattaneo, 

?;9;  French  origins  of  Gothic  in.  En- 
art,  40;  cyclopa;dia  of,  Longfellow, 
43;  see  also  Freeman,  Historical 
sketches,  41 ;  also  Renaissance. 
Italian  art.  Etudes  sur  les  beau.\-  arts 
en  France  et  Italic,  Delabordc,  4; 
Kunst  u.  Kiinstler  des  Mittelalters 
u.  der  Neuzeit,  Dohme,  5;  Arti 
Italiana  del  Rinasciment'o,  Frizzo- 
ni,  5;  Arti  del  desegno  in  Italia, 
Paravacini,  lo,  Selv.Ttico,  12,  Scl- 
vatico  ami  Chirtani,  12;  philosophy 
of,  see  Tame,  Lectures  on  art,  13; 
Venetian  and  Florentine  painters 
of  the  Renaissance,  Berenson,  17; 
history  of  painting  in  Italy,  Crowe 
an<l    Cavalcaselle,    20,    Lanzi,   27; 

Fainting  in  Italy,  Burckhardt,  18; 
'einture  Italienne,  Lafenestre,  27; 
Geschichte  der  Italienischen  Malc- 
rei,  LUbke,  28;  histoire  de  la  pein- 
ture  en  Italic,  Stendhal,  35;  see  also 
Rio,  L'art  Chrt'ticn,  33  ;  also  Italy, 
Renaissance. 
Italian  costume.  S»e  Bonnard,  Cos- 
tumes historic]  jes  des  i2e-isesitcles, 

Italian  gardens,  Piatt,  44. 

Italian  music,  history  of,  Brendel, 
Geschichte  der  Musik  in  Italicn, 
Deutschland  u.  Frankreich,  55; 
present  state  of,  Burney,  56-57;  and 
opera,  Hogarth,  5^;  masters  of, 
Streatfeild.  66;  Rossini  and  modern, 
Edwards,  64. 

Italian  pottery.  See  Fortnum,  Mai- 
olica,  50. 

Italian  sculpture,  Perkins,  31. 

Italy,  Country  of  Horace  and  Vir- 
gil, Boissier,  3;  influence  of  Byzan- 
tine art  in,  see  Bayet,  L'art  Byzan- 
tin,  3,  Byzantine  art  in  southern, 
Diehl,  4;  La  Grand-Gri'ce,  Lenor- 
mant,  8.  See  also  Italian  art,  etc., 
Renaissance. 

Ireland,  early  architecture  of.  See 
Waring,  Stone  monuments,  14. 

Irish  music.  Walker,  63. 

Is&w&   S    62 

lstomi'n,fh.'M.,n;»/Llitsh,  G.  0,62. 

Ivories,  carved,  see  Pal^ologue,  L'art 
Chinois,  10;  ancient  and  mediiev?.', 
in  the  South  Kensington  Museum, 
Maskell,  51. 

Jaccaci,  A.,  25. 

Jackson,  J.,  25-26. 

Jackson,  T.  G.,  42. 

Jadassohn,  S.,  70. 

Jade.    See  Paleologue,  L'art  Chinois, 

JO. 

Jaennick,  F.,  50-51. 
Jahn,  O.j  64. 
James,  Henry,  7. 
James,  R.  N.,  14. 
Jameson,  Mri.  A.,  36. 


Janotlia,  Natalie,  trails.  See  KUc- 
zynski,  72. 

Janus,  Ceil.  See  Musici  Scriptores 
(■ra'ci,  60. 

Japan,  architecture,  art,  and  art  of 
manufactures  of.  Dresser,  5;  artist's 
letters  from.  La  Farge,  7.  .See  also 
Japanese  art. 

Jai)anese  art^  Dresser,  5,  Gonse,  6, 
Jarves,  7,  Sturgis,  13;  see  also  De 
Pouvourville,  L'art  Indo-Chinois,  4. 
See  also  Japan. 

Jajianese  homes  and  their  surround- 
ings, Morse,  9. 

Japanese  music,  Isawa,  62. 

Japanese  picture-books,  reproductions 
from.  .SVv  Jarves,  Glimpse  of  the 
art  of  Japan,  7. 

Japanese  prints.  .See  Anderson,  Jap- 
anese wood-engravings,  16. 

Japanese  wood-engravings,  Ander- 
son, 16. 

Jarves,  J.  J.,  7. 

Jesso,  processes  in.  .SVv  Lillty  aiii/ 
Midgeley.  Studies  in  plant  form,  5:. 

Jevvitt,  L.,  7. 

Joachim.  .See  Fullcr-Maitland,  Mas- 
ters of  German  music,  64. 

Jiyhn  0/  lloloj;iia,  Desjardins,  at. 

John  ('/  l>(iiiai.  See  Desjardins,  La 
vie  ct  I'ccuvrcs  de  Jean  Bologne,  21 

Johnson's  universal  cyclopa;dia.  See 
Emerson,  A.,  5;  Helbig,  W.,  airl 
Lanciani,  R.,  7  ;  Sturgis,  12,  46,  53. 

Joncicres.  .See  Hervcy,  Masters  of 
French  music,  64. 

Jones,  H.  S.,  26. 

Jones,  Inigo,  and  Wren,  Loftie,  43. 

Journals,  musical,  list  of,  73. 

Jubilee  singers.  Marsh,  62. 

Judiea,  history  of  .incient  art  in,  see 
Perrot  ami  Chipiez,  11. 

Jullicn,  A.,  67-68. 

Justi,  K.,  26. 

Kade,  O.  .See  Ambros,  Geschichte 
der  Musik,  55. 

Kal!:brenner,  piano  methods  of.  See 
Kullak,  70. 

Kancllcr,  1> .  S.,  64. 

Karasowski,  M.,  65. 

Karolv,  K.,  26. 

Keane,  A.  H.,  Ira  its.  ."Tfirjusti,  Diego 
Vclas(|uez  and  his  t;me,  26. 

Kecne,  C.  S.,  Layard,  27  ;  see  also 
Moore,  Modern  painting,  30;  Spiel- 
man,  History  of  I'mu/i,  35. 

Keller,  A.     See  Villemarqui-,  (13. 

Kerr,  K.,  42;  retitser,  see  Fergusson, 
History  of  the  modern  styles  of  ar- 
chitecture, 40-41. 

Kiesewettcr,  K.  G.,  56,  58,  60,  62;  and 
Fetis,  58;  see  also  Prefatory  note,  54. 

Kingsley,  E.  See  Smith,  American 
illustrators,  35. 

Kirchner.  .S'lV  Fuller-Maitland,  Mas- 
ters of  German  music,  64. 

Kistlcr,  C,  See  Fullcr-Maitland, 
Masters  of  German  music,  64. 

Klauser,  K.,  eil.    See  Paine,  65. 

Kleczynski,  J.,  72. 

Knotting.  .SVv  Walker,  Varied  occu- 
pations in  stringwork,  53. 

Koehler,  S.  R.,  7,  26;  see  also  Buxton, 
English  painters,  31. 

Kiihler,  piano  method  of.  See  Kul- 
lak, 70. 

Krehbiel,  H.  E.,  58,  68,  70. 

Kreissle,  H.  von,  65. 

Kretzschmar,  H.,  72. 

Kuflferath,  M.,  68. 

Kuhnau.    See  Rimbault,  Pianoforte, 


Kulia 


70. 


llak.  A.,  70. 
Kullak,  T.     See  Kullak,  A., 


Lace,  Lefebure,  Broderies  et  den- 
telles,  51;  history  of,  Palliser,  52; 
history,  description,  manufacture, 
bibliography,  see  Seguin,  Le  den- 
telle,  53. 

Lacquer,  Sturgis,  53 ;  Japanese,  see 
Gonse,  L'art  Japonais^  6  ;  Chinese, 
see  Paldologue,  L'art  Chinois,  10. 

LaFarge,  J.,7, 27.       ^.  ^       ^ 

Lafenestre,  O.,  and  Richtenberger, 
E.,  27. 

Lalor,  J.  J., /ra«j.    .9*<?  Nohl,  65. 

La  Mafa  (Marie  Lipsius),  73. 


Indiw. 


8i 


I.amhillotte,  L.,  6.. 

I.amennais.   .See  Rii),  KpilnifUf  ii  I'art 

Chretien,  31. 
t.ampadius,  W.  A.,  6;. 
I-anccl'itli    Palace,  llie  disc-tlinwcr. 
in.     .Sie  t'i)lli(,'non,  Ilistoiro  dc    la 
sculpture  Orcc(|ue,  19. 
LanrianI,    R.,   7-8,    and   Helbig,    7, 

(till/  Ramsay,  11. 
Landscape    Kankninc,    Parsons,   44; 
sera/so  Hloniliold  (/«</  IniK",  For- 
mal Kardi'ii  in  KnKland^  39;  Piatt, 
Italian  gardens,  44;  Rubmsun,  Gar- 
den design,  44    (5. 
Landscape    painting,  Couture,    Pay- 
sa^,'(',   20,     Mam'Tton,    24,    jti'  nlso 
Proust,  [.'art  Kranvais,  n,  Kuskin, 
Harbours  of  Knuland,   35;    before 
Claude   and  Salvalur,   Ciilbert,  23  ; 
introductiim    of,    in    the    Flemish 
s  liool,    si'f     Michel,     Etudes    sur 
I'histoircde  I'art,  29. 
Landscapes,   architecture  in   relation 
to.     .Sif  Statham,    Architecture  for 
(jeneral  readers,  46. 
Landseer,  Sir  E.    Sec  Sweetscr,  Artist 

biofjraphies,  36. 
Lane,  F..  W.,  8. 
La!in,  II.  J.     .Sii'  Jullicn,  67. 
LanKiians,  W.,  56. 
Lanzi,  .//'A'  L.,  29. 
Larousse,   P.     See  Clement,    I".,  am/ 

Larousse,  73. 
Lau,  T.,  SI. 
LaUKcl,  A.,  8. 

Laurens,  Jean-Paul,  niashfield,  '7. 
Lawn  plantiiif,'.     .Srr  Parsons,  Land- 
scape L'ardeninu,  44- 
Laws  of^Fcsole,  Ruskin,  34. 
LayanI,  (i.  S.,  ^i. 

Lea  Iwork,  old   and  orn.imcntal   and 
f  ir  the  most  part  Entjiisli,  Lethahv, 
W.  R.,  51. 
Leaf,   I'r.     Si\-  Schi'chhardt,  Schlie- 

niann's  excavations,  12. 
Le  Hun,  (lustave,  42. 
Lechevallier-('lievi);nard,  F,.,  8. 
Lecomte,  (1.,  j?. 
Lecoy  de  la  Slarchc,  A.,  27. 
Lectures  and  <  ssays,  Seeley,  12. 
Lectures  and  lessons  on  art,  Moody,  9. 
Lectures  on  arcti]  lecture  and  paimin^', 

Ruskin,  12. 
Lectures  on  art,  Ruskin,  n,  Tainc,  13, 

Poynter,  31,  Scott,  53. 
Lectures  on  painting,  I-afarce,  27. 
Leech,  J.     See  Spieliiian,   History  of 

t'Mnili,  35. 
Lefebure,  E.,  51. 
Lefort,  P.,  27 
Lct,'en<lary     and    mythological     art, 

handbook  of,  Clement,  19. 
Legends,  of  the  Madonna  Jameson, 
26;  of  th<'  monastic  orders.  Jameson, 
26;  of  thi*  jiaintings  of  Florence,  see 
Karo'v.  Ciuide  to  the  paintinKS  of 
Florence,  26;  of  the  Wagner  drama, 
Weston,  68. 
Legros.      See  Wedmore,    Etching   in 

England,  37. 
Leighton,  Sir  F.,  Rhys,  j2  :  see  also 

Hell,  .S/>  Edward  Burne-Joi.es,  17. 
I.emonnier,  H.,  8. 

Lemoyne.      see  Mantz,  Francois  Bou- 
cher, LemOTne  ct  Natoire,  28. 
LenormanI,  r .,  8,  27. 
Len  >x  Library.    See  Musici  Scriptores 
Grieci,  60,  Walker,  63  ;  also  Drexel 
collection. 
Lenz,  W.  de,  72. 

Leonardo  da  Vinci,  Richter,  33,  Rio, 
33  ;  see  also  Sweetser,  Artist  biogra- 
phies, 36. 
Leoncavallo.    .SVcStreatfeild,  Masters 

of  Italian  music,  66. 
Lethaby,  W.  R.,  8,  51,  and  Swainson, 

42. 
Levant,    architecture    of    the.      See 
Longfellow,  Cyclopcedia  of  works 
of  architecture,  43. 
Lewis,  T.  H.,  <i <;</ Street,  G.  E.,  42. 
Leys,  H.     See  Blanc,  Artistes  de  raon 

temps,  3. 
Lievre,  E.    .SV^  Mantz,  Hans  Holbein, 

28. 
Lilley,  A.  E.  V.,  and  Midgley,  W., 
,  51. 

Lindsay,  Lord,  27. 
Linn,  W.  A.,  25,  43. 


Linton,  W.  J.,  28. 

Lipsius,  Mane.    .SV^  La  Mara,  73. 

Liszt,   Franz,  62,  65,   Nohl,  65,   Ra- 

mann,  66. 
Literature.    See  Roman  litcratut  ■'.. 
Lithography,   Bouchot,    17,    Stui'.;is, 

36;  examples  of  chromo.,.t(V  Flet  :h- 

er.   Bookbinding  in    England    and 

France,  49-50. 
Little  masters  (The),  Scott,  35. 
Liturgical  chants.     .Sec  Chants. 
Loan  associations,  building  and,  Linn, 

Lottie,  W.  J.,  43. 

Loggi  del  Lanzi,  at  Florence,  meas- 
ured and  pictorial  drawingsof.  .S.v 
Rohault  de  Fleury,  La  Toscane  au 
Moyen  Age,  45. 

London,  architecture  in,  see  Loftic, 
Inigo  Jones  and  Wren,  43. 

London  city  churches,  Daniell,  39. 

Longfelh.w,  W.  P.  P.,  ..■,/.,  4)- 

Longman,  W.,  43. 

L'Ormc,  Philibert  de,  Vachon,  46. 

Lorrain,  Claude.  See  Claude  Lor- 
rain. 

Lotto,  Lorenzo,  Berenson,  17. 

Louis  XII.  See  De  Laborde,  La  Re- 
naissance'.'l  la  cour  de  France,  4. 

Louvre,  catalogue  of  paintings  in  the, 
Lafencstre  and  Richtenberger,  27  ; 
pictures  in  the  square  rocm  of  the, 
Gruycr,  23;  sculpture  in  the,  Clarac, 
19,  Courajod,  so;  see  also  De  Pou- 
vourville,  L'art  Indo-Chinnis,  4. 

Low,  Will  H.,  9,  28  ;  see  also  Modern 
French  masters,  29,  Smith,  Amer- 
ican illustrators,  35. 

Llibke,  W.,8,  28. 

Lully.     See  Rimbault,  Pianoforte,  59. 

Lujiton,  T.  See  Ruskin,  Harbours  of 
Kngland,  33. 

Lutes,  Vidal,  Luthcrie  et  lutiers,  59. 

Llltsh,  G.  ().  .SW'  Istomin,  Th.  M., 
and  Liitsh,  62. 

Luxembourg  Museum,  Benedite,  17; 
fountain  by  Carpeaux  in  gardens 
of,  see  Chesncau,  Le  statuaire  J.  B. 
Carpeaux,  18. 

Lycia,  history  of  ancient  art  in.  .ViV 
Perrot  n«(/ Chipiez,  11. 

Lydia,  history  of  ancient  art  in.  See 
Perrot  a«(^  Chipiez,  11. 

Lynch.  See  Morin,  French  illustra- 
tors, 30. 

Lyon,  f.  W.,  51. 

Lyrical  drama,  Edwards,  H.  S.,  71  ; 
see  also  Celler,  Les  origines  de 
I'op^ra  et  le  ballet  de  la  reine,  57. 

McClure,  M.  L.,  trans.  See  Maspero, 
Dawn  of  civilization,  9. 

McCliire's  .Wa,;asi»e.     See  Low,  28. 

Macfarren,  G.  A.,  56. 

Macgibbon,  D.,  43,  and  Ross,  T.,  43. 

Mackenzie.  See  Willeby,  Masters  of 
English  music,  67. 

Macklin,  A'tv'.ll.  W.,  28. 

Madonna,  Raphael's  paintings  of, 
Karoly,  26,  see  also  Cartwright, 
Raphael,  18;  legends  of,  Jameson, 
26. 

Magazines,  Century  and  St.  Nicho- 
las, see  Century  gallery,  18  ;  Cen- 
tury, see  Modern  French  masters, 
29  ;  McClure's,  see  Low,  A  century 
of  painting,  28  ;  Punch,  see  Modern 
painting,  Moore,  G.,  30,  Spielman, 
History  of  Punch,  35;  Scribner's, 
see  Coffin,  American  illustrations  of 
to-day  and  A  word  about  painting, 
19. 

Magrepha  of  the  Talmud  (The).  See 
Saalschlitz,  Geschichte  u.  Wurdi- 
gung  der  Musik  bei  den  HebrSern, 
6o-<ii. 

Magyar  music.  See  Liszt,  Des  Bo- 
hemiens  ct  de  leur  musique  en 
Hongrie,  62. 

Maindron,  G.  R.  M.,  51. 

Maiolica  ware,  Fortnum,  50. 

Man  in  art,  Hamerton,  24. 

Manatt,  J.  I.,  trans.     See  Tsountas, 

Mancinelli.    See  Streatfeild,  Masters 

of  Italian  music,  66. 
Mandyczewski,    E.,    compiler.      See 

Nottebohm,  65. 
Manet,  Edouard,   Beckwith,  16;   see 


also  Bacon,  P.irisian  art  anil  artists, 
ifi;  Lecomte,  L'art  Impressionnistc, 

27- 

Mangeant,  P.  E.,  28. 

Mantz,  P.,  28;  see  also  Proust,  L'art 
Francjais,  11. 

Manufactures  and  art.  See  Indus- 
trial arts. 

Manuscripts,  decoration  of.  .^ee  Le- 
fort, Spanish  painting,  27;  painting 
of  in  mcdi.-eval  times,  see  Propert, 
History  of  miniature  art,  32;  illu- 
minated, Middlcton,  51. 

Maps  and  |)lans,  of  Rome  and  Pom- 
peii, see  Boissier,  Country  of  Hor- 
ace and  Virgil,  3;  of  Rome,  jrc  Den- 


classical  literature  and  nnti(|iillies, 
14;  descriptive,  see  Billings,  Archi- 
tectural illustrations,  ^9,  Gailha- 
baud.  Monuments  anciens  et  mo. 
dernes,  41;  of  Indian  buildings,  see 
Le  Hoii,  Les  monuments  de  I'lnde, 
42;  of  Tuscan  medi.xval  cities,  see 
Rohault  de  Fleury,  La  Toscane  au 
Moyen  Agc,45;of  mcdiieval  church- 
es in  Spain,  see  Street,  Some  ac- 
count of  Gothic  architecture  in 
Spain,  46;  of  Denmark,  previous  to 
1660,  see  Worsaae,  Industrial  arts  of 
Denmark,  53. 

Marble,  brick  and,  in  the  Miildle 
Ages,  Street,  46. 

Maretzek,  M.,  58. 

Marindin,  G.  E.  .?»•(•  Smith,  Sir  W., 
Wayte,  W.,  and  Marindin,  15. 

Marks  and  stamps,  ceramic,  see  Jacn- 
nicke,  Grundriss  der  K'cramik  in 
Bezug  auf  das  Kunstgcwerbe,  so; 
of  armor-smiths,  see  Maindron,  Les 
armes,  51. 

Maniuand,  A.,  43,  and  Frothingham, 
A.  L.,28. 

Marryat,  J.,  51. 

Marsh,  J.  B.  T.,  62. 

Marshall,  H.  R.,  8. 

Martha,  Jules,  8. 

Martini,    Padre. 
rcvoluzioni    del 
Italiano,  56. 

Marx,  A.  B.,  65. 

Marx,  R.,  28. 

Mascagni.  See  Streatfeild,  Masters 
of  Italian  music,  66. 

Maskell,  Alfr.,8. 

Maskel!,  W.,  51. 

Mason,  G.  C,  28. 

Maspero,  G.,  8-9. 

Massenet.  See  Hcrvey,  Masters  of 
French  music,  64. 

Masterpieces,  of  great  artists,  1400- 
1700,  Bell,  17;  of  the  art  of  the 
XIX.  century,  De  Lostalot,  21,  De 
Wyzewa,  22,  Gonse,  23,  Lefort,  27, 
Mfchel,28;  of  Greek  sculpture,  Furt- 
wifnglcr,  23. 

Master-singers  of  Nuremberg,  Wag- 
ner's, typical  motives  of,  Benoit,  67; 
attempt  at  a  musical  explanation, 
Heintz,  67;  historical  sources  of, 
Wagenseil,  68. 

Masters,  old  Dutch  and  Flemish,  Cole, 
19,  FromentiUj  22;  old  Italian,  Cole, 
19;  the  little,  Scott,  35. 

Masters  and  masterpieces  of  engrav- 
ing, Chapin,  18. 

Marters  of  English  music,  Willeby, 
67. 

Mastersof  French  music,  Hervey,  64. 

Masters  of  German  music,  FuUer- 
Maitland,  64. 

Masters  of  Italian  music,  Streatfeild, 
66. 

Mathews,  C.  T.,  43. 

Mathews,  W.  S.  B.,  58. 

Mattheson.    Sec  RimoauU,  59. 

Matthew,  J.  E.,  trans.  See  Pougin, 
66. 

Mazarin,  Ktudes  d'art  et  d'histoire  de 
Part  Kran9ais  au  temps  de  Riche- 
lieu et  Mazarin,  Lemonnier,  8. 

Medallions.  See  Saunier,  Augustin 
Dupre,  34. 

Medals.  .See  Lenormant,  Monnaies 
et  medailles,  37 ;  see  also  CoinSi 
Seals. 


.See    Arteaga,    Le 
teatro      musiciile 


Index, 


Jlcdixval  architecture,  in  Italy,  sec 
riiiito,  Architettura  del  medio  evo 
in  Italia,  39;  optical  rctinements 
in,  Goodyear,  41;  huildinKH  of,  jci? 
Gailhabaud,  Monuments  anciens  et 
modernes,  41  ;  rise  and  develop- 
ment of,  Scott,  4SJ  cathedra's  and 
churches  of,  in  Spain,  see  Street, 
Some  account  of  Gothic  architect- 
ure in  Spain,  46;  influence  of  pop- 
ular life  upon,  see  Viollet-leUuc, 
Histoired'un  hotel  de  ville  et  d'une 
cathi'dralc,  47. 

MediiEval  arms  and  armour,  noutell, 

•49-. 

Medijeval  art,  Menard,  g;  Kuiist  u. 
KUnstler  des  Mittelaltcrs  u.  dcr 
Neuzeit,  Dohme,  5;  Roman  and, 
Goodyear,  6;  schools  of,  Owen,  10; 
Kunst({eschichte  des  Mittelaltcrs, 
Reber,  44;  .vct- <j/n'  Didron,  Manu- 
el d'icono(;raiihic  Chretien,  as  ; 
VVoltmann  n«</W(>ermann,  History 
of  paintinK,  37;  Maskell,  Descrip- 
tion of  ivories  in  South  Kensington 
Museum,  51. 

Media;val  Christianity,  Homans,  25. 

MeHiicval  costume,  nemay,49 

Mediicval  music,  Hope,  R.  C.,  fc. 

Meissonier,  and  the.  Salon  Julien. 
.SV^  Moore,  Impressions  and  opin- 
ions, 29. 

Meistcrsinpcr  (Diet.  .SVi'  Mastcr- 
sinjfers  of  Nllremberp,  IJcnoit,  67, 
Heintz,  67.  Wagenseil,  68. 

Melani,  A.  O.,  43,  51. 

Menard,  R.,  9. 

Mendelssohn-Bartholdy,  Felix,  Lam- 
padius,  65 ;  see  also  Hitter,  Bei- 
trage  zur  Geschichte  des  Oratori- 
ums,  66. 

Menestrel  (itO,  73. 

Menta,  Ste  Jaccaci,  Italian  posters, 
35. 

Merson,  O.,  43. 

Merulo.  See  Winterfeld,  Johannes 
Gabrieli,  59. 

Mesnurd,  L.,  28. 

Mesomedes,  hymns  of,  Rellermann, 
63;  see  also  Galilei,  Dtalogo  dell.i 
musica  antica  e  della  moderne,  57; 
Williams,  Music  of  the  ancient 
Greeks,  61. 

Mesopotamia,  art  in.  See  Tarbell, 
History  of  Greek  art,  13. 

Metal  work,  Sturgis,  53;  oriental,  see 
Babelon,  Archi?ologie  Orientale,  2; 
Russian,  see  Maskell,  Russian  art, 
8;  engraved,  see  Ruskin.  Ariadne 
Florentina,  34;  loan  collection  of 
plate  in  Fitzwilliam  Museum,  Fos- 
ter and  Atkinson,  50. 

Metaphysics  of  art.  See  Marshall, 
iEsthetic  principles,  8. 

Metupontum.  See  Lenormant,  La 
Grand- Grfece,  8. 

Metre,  nature  of  harmony  and, 
Hauptmann,  69. 

Metropolitan  Museum.  See  La  Farge, 
Considerations  on  painting,  27;  col- 
lection of  musical  instruments  in, 
see  Brown  and  Brown,  61. 

Meyerbeer.  See  Apthorp,  Musicians 
and  music-lovers,  70. 

Michaelis,  A.,  43. 

Michel,  A.,  28  ;  see  also  Proust,  L'art 
Franyais,  11. 

Michel,  E.,  2,.'-2p. 

Michelangelo,  i;fe  of,  Grimm,  6,  Har- 
ford, 7,  Symonds,  13,  Wilson,  14, 
Sweetser,  Artist  biojjraphies,  36,  see 
also  Story,  Excursions  in  art  and 
letters,  13;  relation  between  Tin- 
toret  and,  Ruskin,  34;  works  of,  see 
Goodyear,  Roman  and  mediicval 
art,  6. 

Michiels,  A.,  29. 

Middle  Ages.  See  Medixval  art,  ar- 
chitecture, costume,  Music. 

Middlcton,  J.  H.,  9,  zg,  43,  51;  see  also 
Morris  a>ir/  Middleton,  44. 

Midgley,  W.  See  Lilley,  A.  E.  V., 
and  Midgley,  51. 

Milan,  history  of  painting  in,  from 
XIV. -XVI.  century,  Crowe  and  Ca- 
yalcaselle,  20. 

Mi'itary  architecture.  See  Essenwein, 
Die  Romanische  und  die  Gothische 
Baukunst,  40;  in  Scotland,  Macgib- 


hon  and  Rons,  4  ;;  civil  and,  «■<•  Ro- 
hault  de  FIcury,  La  Toscane  au 
Moyen  Age,  4";. 

Military  painting,  history  of,  Alex- 
andre, 16. 

Millais,  .V/>  John,  Chcsneau,  18. 

Millet,  F.  D.,9. 

Millet,  Jean  Francois,  Cartwright,  18, 
Sensier,  35  ;  see  also  De  Lostalot, 
Chef  d'criivresde  l'art  au  xix.  sit'Cle, 
21  ;  the  peasant  in  the  work  of, 
Roger-Miles,  33. 

Millington,  E.  J.     .SVc  Didron,  aj. 

Miniatur./ painting,  history  of  art  of, 
I'roperi,  33. 

Ministry  of  tino  art  tn  the  happiness 
of  life.  Gambler,  5. 

Minor  decorative  arts  (department), 
48-'i4. 

Mitchell,  D.  G.,2.;,  43. 

Mitchell,  J.  A.,Q. 

Mitchell,  Lucy  L.,  29. 

Modelling  in  wax.  .S'<v  Propert,  His- 
tory of  miniature  art,  32 

Modern  Frenchmen,  Hamciton,  4. 

Modern  painters,  Ruskin,  33. 

Modern  painting,  Moore,  30. 

Modern  poster  (The),  29. 

Mohammedan  architecture,  .fiv  Franz- 
Pascha,  Die  Baukunst  des  Islam,  41, 
Smith  and  Slater,  Architecture, 
classical  and  early  Christian,  46;  de- 
velonment  of  Byzantine  art  in,  see 
Viollet-le-Duc,  L'art  Kusse,  14. 

Mollet.  J.  W.,29. 

Molmenti,  P.  G.,  9,  29. 

M( mastic  orders,  legends  of,  Jameson, 
26. 

Monatsshe/te  /lir  Musiif:esi'hhlite, 
77,- 

Mondonville,  de.  See  Rimbault,  Pian- 
oforte, 59. 

Monet.  See  Lecomte,  L'art  impres- 
sionniste,  27. 

Money.     See  Coins. 

Monkhouse,  Cosmo,  ed.  See  Hcaton, 
Concise  history  of  painting,  25. 

Monodic  style,  see  Galilei,  Dialogo 
della  musica  antica  e  della  moderne, 
57;  Kiesewetter,  Schicksiile  u.  Be- 
schaflfenheit  des  Weltlichcn  Ge- 
sanges,  58. 

Monteverde.  See  Kiesewetter,Schick- 
sale  u.  Beschaffenheit  des  Welt- 
lichen  Gesanges,  58. 

Mont  Saint-Michel,  description  de 
I'abbaye  de,  Corroyer,  30. 

Monumental  brasses,  Macklin,  28. 

Monuments,  of  ancient  Athens,  Har- 
rison, 7  English,  see  Jewitt,  Half- 
hours  among  some  Eng.  antiquities, 
7;  of  Cairo,  Poole,  11;  stone,  tumuli, 
and  ornaments,  Waring,  14;  ancient 
and  modern,  Gailhabaud,  41  ;  of 
Central  India,  Griffin,  41  ;  of  India, 
Le  Bon,  42;  lists  of,  see  Hamlin, 
History  of  architecture,  4j;  of  many 
epochs,  see  Havard,  La  1' ranee,  42  ; 
of  Constantinople,  see  Grosvcnor, 
Constantinople,  6. 

Monvel,  M.  Boutetde,  Low,  28. 

Moody,  F.  W.,9. 

Moore,  A.,  Baldry,  16;  see  also  Bell, 
Sir  Edward  Burne-Jones,  17. 

Moore,  C.  H.,  29,  43-44. 

Moore,  Geo.,  29-30. 

Mora  da  Hohcnstein.  See  Jaccaci, 
Italian  posters,  25. 

Morelli,  Domenico,  Willard,  37. 

Morelli,  G.,  30. 

Morgan,  J.  P.,  trans.    See  Richter,  70. 

.Morgan,  Mrs.  J.  P.,  trans.  .See  Ru- 
binstein, 66. 

Morin,  L.,  ^30. 

Norland,  G.,  Richardson,  33. 

Mornings  in  Florence,  Ruskin,  34. 

Morris,  William,  9,  51  ;  <•(/.,  51  ;  ami 
Middlcton,  3c,  44. 

Morse,  E.  S.,  g;  see  also  Hrnoks,  Old- 
en time  music,  56. 

Mosaic,  Gerspach,  41,  Middleton,  51  ; 
early  Christian,  Mliniz,  44. 

Moscheles,  I.,  ed.     See  Scliindler,  66. 

Moslems.  See  Mohammedan  archi- 
tecture. 

Mount-Edgecumbc,  Earl  oj\  58. 

Mozart,  Holmes,  64,  John,  64,  Nohl, 
6=,  Oulibischcff,  65,  see  a(so  Bom- 
be.,  Life  of  Haydn,  63;  Don  Giovan- 


ni of.  Gouno-1,  64;  story  of  Mozart' ; 
re(iuicm,  Pole,  66. 
Muffal.      Sci.'    Rimbault,    Pianoforte, 

S9. 

Muirhead,  J.  I.,  trans.  See  Helbig, 
Guide  to  the  public  collections  of 
classical  anti<|uities  in  Rome,  7. 

Milller,  H.  A.,  15. 

.Munich  Gallery.  See  Morelli,  Italian 
painters,  30. 

Miintz,  Bug.,  t,-in,  30,  44,  ■12. 

Mural  decoration,  Morris  <»«</ Middlc- 
ton, 44. 

Mural  painting,  Crowninshield ,  ac-ai ; 
De  Champeaux,  Histoire  de  ixint- 
ure  decorative,  21,  Morns  and  Mid- 
dletcm,  30; Greek,. rcf  Murray,  Hand- 
book, 10;  in  Boston  Public  Libra- 
ry, I'enollosa,  22;  see  also  Havaril, 
L'ccuvre  de  P.  V.  Galland,  as.  Cox, 
Puvis  de  Cliavannes,  Paul  Bauilry, 
^o.  .See  also  Frescoes,  Wall-paint- 
injf.  Tempera. 

Murillo.     .See  Sweetser, 
raphies,  36. 

10,  30;  see 


See  Cole 


.\rtist  biog- 
also  Collig- 
(lld  Italian 


.See  Rimbault,  Piano 


Murray,  A 
non,  4. 

Murray,  C.  F. 
masters,  19. 

Muschhauser. 
forte,  59. 

.Tlitsie,  73. 

Music  (dep-irtmcnt),  54-74. 

.Music,  Parry,  72,  Banister,  73;  guide 
to  the  study  of,  Dickinson,  55;  his 
tory  of,  Ambros,  55,  Brendel,  s":, 
Burney,  55,  Forkcl,  55,  Hawkins, 
■jj,  Henderson,  55,  Hunt,  5>;-56, 
Kiesewetter,  56,  Langhans,  56,  Mac- 
farren,  56,  Naumann,  56,  Reissmann, 
56,  Rockstro,  56,  Wasiclewski,  59; 
present  state  of,  Burney,  ,s6-i;7 ; 
olden  lime.  Brooks,  57;  aiicienl, 
Arends,  60;  ancient  and  modern, 
Galilei,  57;  ancient  and  national, 
Engel,  62;  Shakespeare  and,  Nay- 
lor,  58;  religious  poetry  and  church-, 
Schletterer,  59;  primitive,  Walla- 
schek,  63;  essaj's  upon,  Gri'fry,  64; 
structure  of,  Gow,  60;  beautiful  in, 
Hanslick,  6gj  how  to  listen  to,  Kreh- 
biel,  70;  philosophy  of,  Pole,  70; 
studies  in  worship-,  Curwen,  70-71; 
studies  in  modern,  Hadow,  71:  live 
years  of,  Hanslick,  71;  purity  in, 
Thibaut,  72;  cyclop.Tcaiasof,  Ctiam- 
plin  ««r^  Apthorp,  73,  Mendel  ami 
Reissmann,  73,  Riemann,  73;  dic- 
tionaries of,  Clement  rt«</Larousse, 
73,  Grove,  73,  Stainer  and  Barrett, 
73.  .SV^  also  Concerts,  Folk-music, 
Musical  instruments.  Musicians, 
f)pera.  Oratorios,  Song,  for  music 
of  special  countries,  see  name  ot 
country,  as,  American  music,  Brit- 
ish music,  English  music,  French 
music,  etc. 

Music-dealers,  catalogues  of,  74. 

Music  of  the  Bible,  Stainer,  61. 

Musical  acoustics,  Broadhouse,  6g. 

Musical  icsthetics,astu<ly  in,  .Ambros, 
6g;  contribution  to  the  revival  ol, 
Hanslick,  69. 

Musical  biography  (department),  '^3. 

.Musical  Courier,  73. 

Musical  criticism  and  analysis  (le- 
partment),  70-72. 

Musical  drama,  Schure,  68. 

Musical  form,  theory  and  practice  of, 
Cornell,  69,  Prout,  70. 

Musical  instruments,  Engel, 
French  of  the  Middle  -Vges, 
Viollet-le-Duc,  Dictionnairc 
Sonne  du  mobilier  Fran^ais, 
played  with  a  bow,  Heron-Allen, 
De'fidiculis  bibliographia,  57,  Vi- 
dal,  Les  instruments  A  archet,  59, 
see  also  V'idal,  Lutherie  et  luticrs, 
sg;  Wasiclewski,  Geschichte der  In- 
strumental musik,  59.  .SVi'  also  names 
of  instruments,  as.  Lutes,  Organ, 
Pianoforte,  Violin,  Violoncello. 

Musical  science  and  icsthetics  (de- 
partment), 69-70. 

Musical  sketches  abroad  and  at  home, 
Ella,  71. 

Musical  Standard,  73. 

Musical  terms,  dictionary  of,  Stainer 
and  Barrett,  73. 


57; 


rai- 
53; 


Index. 


85 


MusUiil  Timet,  73,  see  also  Engel, 
63. 

Musici  Scriptores  Grieci,  60. 

Musicians,  roll  of  names  of,  see  Mac- 
farri-n.  Musical  liisfiry,  ;6 ;  and 
music-lovers,  Apthcirp,  70;  thouKlUs 
of  K^eat,  La  Mara,  73 ;  inuMJc  and, 
Schumann,  72;  cyclopicdia  uf  music 
and,  Clinmplin  and  Apthorp,  71, 
diet,  of,  Gruve,  73.  See  also  for  col- 
lected and  individual  lives  of  mu- 
sicians, UiuKraphy  (department), 
6.1-67. 

Musiltalisclics  skizzcnbuch,  Manslick, 
7>- 

Musikalischc  stationcn,  TIanslick,  71. 

Jtiisikalisches  HoilieiiHiilt,  71, 

Muther,  R 
lu/.arabi( 
Musicale,  58 


K.,30. 
Muzarabic  cnant.    See  I'ali-oHraphie 


Myccniian  a^e  (The),  Tsountas,  13; 
see  also  I'errotrtMi/C'hipiez,  Histoire 
de  I'art  dans  I'antiquitc,  11. 

Myrl>ach,de.  See  Morin,  French  il- 
lii.tralors,  30. 

Mysticism  iii  aichitecturc,  Letliaby, 
8,  see  also  liuskin,  Aratra  Pentclici, 
31-14  ;  in  art,  see  Gilchrist,  Life  01 
William  lilakc,  33.  See  also  Sym- 
bolism. 

Naples  Museum,  the  spear-bearers  in. 
.Viv  Ci  lliKnon,  Histoire  de  lasculpt- 
ure  Grcccpie,  19. 

.\',itio,i  (  ///,■).  Set  Coffin,  3,  Hiitt, 
25,  Morin,  30. 

National  Assiiciatinnfor  the  Advance- 
ment of  Art  and  its  Application  to 
Inilustry,  transactions  ot,  51. 

National  Gallery,  popular  nandbook 
of,  Cook,  19  ;  new  pictures  in,  see 
Moore,  Impressions  and  opinions, 
29. 

National  music,  f(  Ik-sonn  and,  (dc- 
))artment),  61-63. 

National  music,  mtroduction  to  the 
study  of,  EnL'cl,  62. 

Natoire.  See  ftlantz,  Francois  Bou- 
cher, I.emoyne,  and  Natoire,  38. 

Naumann,  K.,  56. 

Naylor,  K.W.,"58. 

Nederlandschc  Instituut  van  Weten- 
schafen.  See  Kiese wetter  uW  Fetis, 
\'erhandelin>;en,  58. 

Needlework,  as  an  art,  Alford,  48; 
dictionary  of,  CaulfeiUl  ami  Sa- 
ward,  49;  I.efebure,  Broderies  et 
dentelles,  51;  in  collection  of  church 
vestments,  South  Kensinjrton  Mu- 
seum, see  Rock,  52.  See  also  Tapes- 
try. 

Neitzel,  O.,  72. 

Ne->-Germanic  school.  See  Brcndel, 
Gcschichte  der  Musik,  5s. 

Netherlands,  art  in  the,  iJohmc,  Kunst 
u.  Kiinstler  des  Mittclallers  u.  der 
Neuzcit,  5;  Taine,  Lectures  on  art, 
13;  see  also  Alexandre,  Ecole  Fla- 
mande  ct  Hollandaij-e,  15;  Cole, 
Old  Dutch  and  Flemish  masters,  19; 
Fromentin,  Old  masters  of  Belffium 
and  Holland,  22. 

Netherlands,  music  in  the,  Kiesewct- 
icr  ami  Fetis,  Vcrhandelin^ten,  57; 
see  also  Reissmann,  Allefjemeine 
Gcschichte  der  Musik,  56;  present 
state  of,  Uurney,  56-57. 

Netting.  .S'lV  Wall.er!  Varied  occu- 
pations in  strinKwork,  53. 

Nettlcship,  H.,  e,i.     See  Seyffcrt,  15. 

Neue  Akuiieiitte  tier  ronkuptst.  See 
Laniihans,  History  of  music,  56. 

Neville,  R„  44. 

New  England,  colonial  furniture  of, 
Lyon,  51  ;  early  history  of  music  in, 
see  Brooks,  f)fd(n  time  music,  56 ; 
musical  culture  in,  see  Perkins  rt«r/ 
Dwisht,  History  of  the  Handel  and 
Haydn  Society  cf  Boston,  s8. 

Newberry  Library,  musical  depart- 
ment.    .SVc-  Prefatory  note,  55. 

Newhall,   B.,  trans.     See  Tsountas, 

'3- 
Newman,  E.,  65. 
N?wman,  Miss  S.   E.     .Sit'  Fletcher, 

Study  of  Omaha  Indian  music,  62. 
Newmarch,  Rosa,  tra  ns.    See  Deiters, 

64. 
Nibelungcn    Lied;   see    Riiig  of  the 


Nibelunx,   Dippold,  67,   Woliogen, 

68. 
Nlckerson,  M.  P.,  trans.     See  Gonse, 

L'art  Japonais,  6. 
Nicodi'.      See  P'uller-Maitland,   Mas- 
ters of  German  music,  64. 
Nicomuchus,    on  music;   see  Music! 

Scriptores  Grsci,  60. 
Niecks,  F.,  65. 
NiKf{li,lifeof  Schubert  by.   .9**  Frost, 

Life  of  Schubert,  64. 
Nimes,  buihlinffsof  the  Roman  times 

and  Middle  Ayes  in.     See  Macgib- 

bon.  Architecture  of  Provence  unci 

the  Riviera,  4  1. 
Nohl,  L.,  65. 
Normans,  Freeman,  41. 
Norton,  L.  E.,  10,  see  also  Ruakin,  13, 

JJ.  45. 
Notation,  historical  stories  of,   Rie- 

mann,  59. 
Notes  of  travel  and  study  in  Italy, 

Norton,  10. 
Nottebohm,  G.,65,  see  also  Ambroa, 

Gcschichte  der  Musik,  55;  e<i,,see 

Beethoven,  63. 
Numismatics,     .Sir  Coins, 
Nuremberg,  city  of,  Wagenseil,  68. 

Offenbach.  .See  Apthorp,  Musicians 
and  muslc-lovcis,  70. 

Old  masters,  Dutch  and  Flemish, 
Cole,  19;  Italian,  Cole,  19;  of  Bel- 
L'ium  ami  Holland,  Fromentin,  23. 

Olden  time  music.  Brooks,  56. 

t)lympia,  discoveries  at,  see  Gardner, 
New  chapters  m  Greek  history,  5; 
sculpture  of  the  temple  of  Zeus  at, 
see  Collifrnon,  Histoire  de  la  sculpt- 
ure Grecque,  10. 

Opera,  Streattc  Id,  72,  Upton,  72;  his- 
tory of,  Fink,57,«v<i/.«'Schletlerer, 
Das  Deutsche  Sinffspiel,  59  ;  bc^jin- 
nin^s  of,  Cellcr,  57,  see  also  Kiese- 
wetter,  Schicksale  u.  Beschaffenhcit 
desWeltl-chen  Gesan|,'es,  58;  Italian, 
Arteatja,  56 ;  ii.  London,  Mount- 
Edffecumbe,  >■';  in  Italy,  France, 
Germany,  and  Enjjland,  Hogarth, 
57;  modern,  Hanslick,  71;  PfonI,  72; 
(fuide  to  Cjerman,  Neitzcl,  72;  dic- 
tionary of,  Clement  and  Larousse, 
73;  Rieman,  Opcrn-Handhuch,  73  ; 
see  also  Edwards,  Lyrical  drama, 

7'- 

Optique  (L')  et  Ics  arts,  Laupel,  8. 

Oratorio  Society  of  New  York,  Kreh- 
bicl,  58, 

Oratorios,  contributions  to  the  history 
of,  Ritter,  Beitriige  zur  Gcschichte 
des  Oratoriums,  56;  standard,  Up- 
ton, 72. 

Orchardson,  W.  Q.    Armstrong,  16, 

Orchestra,  and  how  to  write  for  it, 
Cordcr,  69 ;  of  the  xvi.  century, 
see  Cclier,  Les  origincs  de  I'optra, 

57- 

Orchestration,  instrumentation  and, 
Berlioz,  69. 

Organs  and  organ-building,  Edwards, 
57;  history  of,  Hopkins  and  Rim- 
bault,  57-58, 

Oriental  antiquities,  Babelon,  2. 

Oriental  architecture,  .See  Fergus- 
son,  History  of  Indian  and  Eastern 
architecture, 41,  Seealso  Byzantine 
architecture. 

Oriental  art.     See  Byzantine  art. 

Oriental  music.  See  Ambros,  Gc- 
schichte der  Musik,  55. 

Ornaments,  stone  monuments,  tumuli 
and  ornaments  of  remote  ages. 
Waring,  14  ;  prehistoric  and  sa%age 
of  our  own  time,  see  Balfour,  Evo- 
lution of  decorative  art,  48. 

Orvieto  Cathedral.  See  Norton,  Notes 
on  tr.-vel  and  study  in  Italy,  10. 

Osier,  W,  R.,  10, 

Otranto,  .See  Freeman,  Sketches  from 
the  subject  and  neighborlands  of 
Venice,  41, 

Oulibischcff,  A.,  65. 

Ouseley,  A'e-i.  Sir  F.  A,  G.,ed.  See 
Naumann,  56, 

Overbcck,  J,,  33 ;  Antikcn  Schrift- 
queller  zur  Gcschichte  der  bilden- 
den  KUns'.e  bci  den  Griechen,  see 
Jones,  26, 

Owen,  A,  C,  10, 


Padui,  history  of  painting  in,  from 
XI  V'.  to  X\'I.  centu'y,  Crowe  and 
Cavalcasi  lie,  20;  Giotto  and  his 
works  in,  Ruskin,  33. 
Paine,  J.  K.,«r/.,6s. 
Painters,  Vasari,  13-14,  Bryan,  14, 
Jaini »,  .4;  Venecian,  llrrens<in,  17, 
Scott,  14;  Florentine,  Hereupon,  17; 
Flemish,  Crowe,  ao;  miira  ,  (.  o.\,  so; 
Venetian  and  Florentine  Berenxn, 
17;  Italian^  Jameson,  7I;  Morelli,  3a, 
ScotI,  It;  I'.nu'lish,  Huxlon,  i.«?  I'l.yn- 
ter,  31;  Ainirnan,  Koehler,.n'i' Bux- 
ton, 31  (uHiter  I'oynler);  a  century 
of  English,  Redgrave,  R,  and  S  , 
33;  modern,  Ruskin,  33;  famous, 
Shedd,  3s.  See  also  Artists. 
Pair.ters' camp  (The).    .See  Hamerton, 

Thoughts  about  art,  7. 
Painting  and  sculpture  (department), 
15- j8. 

Painting,  Reid  32,  Sturgis,  36;  Flirs. 
ter,  Denkinale  deiilschcr  itaukunst, 
Bildnerei  uiul  Malerei  v.  Kinfiihr- 
ung  des  Christentluims  bis  auf  die 
ncuste  Zeit,  5;  from  nature,  see 
Hamerton,  Thoughts  about  art,  7; 
lectures  on,  Ruskin,  12;  Bayet,  La 
peinture  ct  la  sculpture  Chreticnnc 
en  01  lent,  if;  English,  Chesneau,  18; 
a  work  abcmt,  Coltin,  iq;  history  of, 
in  Italv,  Crowe  and  Cavalcaselle, 
20,  Lanzi,  27,  Stendhal,  35 ;  his- 
tory of,  Heaton,  25,  Mutner,  30, 
Vandyke,  j6,  Woltmann  and  Woer- 
mann,  37,  si-e  also  I'oynter,  32; 
considerations  on.  La  Farge,  27;  in 
Europe,  Lalenestre  nW  Richten- 
berger,  27;  century  of.  Low,  28; 
schools  of,  Middleton,  29;  modern, 
Moore.  30;  classical  and  Italian, 
Poynu  r  rtWHeath,  31;  French  and 
Spanish,  Smith,  31;  German,  Flem- 
ish, and  Dutch,  Bu.xton  and  i'oyn- 
ter, 31;  schoolsand  masters  of,  Rad- 
cline,  32;  technical  beauties  of,  see 
Van  Dyke,  Art  for  art's  sake,  36; 
decorative.  Crane,  see  Morris,  Arts 
and  crafts  essays,  51-52.  See  also 
names  of  countries,  cities,  and  ar- 
tists, and  of  special  schools  of  paint- 
ing, as  Landscape  painting,  Mura! 
painting.  Renaissance,  Sacred  art, 
etc. 

Paladhile.  .SVv  Her\'ey,  Masters  of 
French  music,  64. 

Palazzo  Publico  of  Siena,  measured 
and  pictorial  drawings  cf,  see  Ro- 
hault  de  Fleury,  La  Toscanc  au 
Moyen  Age,  45. 

Palazzo  Vecchio,  at  Florence,  meas- 
ured and  pictorial  drawinL's  of.  See 
Rohault  de  Fleury,  La  Toscane  au 
Moyen  Age,  45. 

Paleographie  Musicale,  58, 

Pali'ologue,  M.,  10. 

Palestrina,  (iiovanni  Pierluigi  da, 
Baini,  63,  Kandler,  64-65;  capeila 
style  of,  see  Ambros,  Geschichteder 
Musik,  ■;,. 

P.ilgrave,  F.  T.,  10. 

Palissy,  Bern.ird,  Burty,  49, 

Palliscr,  .l/>-.v.  B.,  52. 

Palmer,  See  Wedmore,  Etching  in 
England,  37. 

Palustre,  L.,  44. 

Piipworth,  W.,  44;  rej'iser,  see  Gwilt, 
Encyclo]  iedia  of  architecture,  41. 

Paravicini,.  T,  V.,  10,  and  Selvatico, 
12. 

Paris,  P.,  30. 

Paris  E.xiJosition,  tine  arts  at.  Coffin, 
3. 

Paris,  opera  house,  see  Chcsneau,  Le 
statuaire  J.  B,  Carpeau.x,  18;  arc  de 
I'Etoilc,  see  Mangeant,  Antoine 
Ete.x,  28 ;  lights  before,  see  Marx, 
Henri  Regnault,  28 

Parisian  art  and  artists,  Bacon,  16. 

Parker,  J.  H.,44,  aW  Turner,  T.  H., 
44. 

Parma,  frescoes  of  Correggio  in,  see- 
Ricci,  Correggio,  32-33. 

Parry,  C.  H.  H.,  72  ;  see  also  Willeby, 
Masters  of  English  music,  67. 

Parsifal,  Wagner's,  Kufferath,  68; 
guide  through  the  music  of,  Wolzo- 
gen,  68  ;  see  also  Schuri,  Le  drame 
musical,  68. 


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Index. 


Parsons,  S.  P.,.7V.,  aj,  44. 

Parthenon,  Michaelis,  43 ;  curvature 
of  the  stylobate  and  architrave  of, 
see  Goodyear,  Optical  refinements 
in  media;val  architecture,  41. 

Passion  plays  of  the  xiii.  to  the  xvii. 
century.  See  Schletterer,  Das 
Deutsche  Singspiel,  59. 

Pater,  Walter,  10. 

Pattison,  Mrs.  M.,  10,  31 ;  see  also 
Dilke, /.arfy,  5. 

Pauer,  E.    See  Elterlein,  71. 

Paul,  O.,  60;  see  also  Prefatory  note, 

54- 

Pausanius.  See  Harrison,  Mythology 
and  monuments  of  ancient  Athens, 

„7- 

Paysage,    See  Landscape. 

Paysan.    See  Peasant. 

Pearson,  A.  See  Symonds,  Renais- 
sance in  Italy.  13. 

Peasant  in  the  works  of  J,  F.  Millet, 

Roger-Miles,  33. 
-Peck,  H.  T.,  ed.   See  Harper's  diction- 
ary of  classical   literature  and  an- 
tiquities, 14. 

Pen-artists,  English,  of  to-day,  Har- 
per, 24. 

Pen  drawing  and  pen  draughtsmen, 
Pennell,  31 ;  Sambourne's  unique 
system  of,  see  Spieltnan,  History  of 
Punch,  35.  See  also  Blacic  and  white, 
Book  illustration,  Illustration,  Illus- 
trators. 

Pencz.    See  Scott,  The  little  masters, 

T,35-    „   , 

Pennell,  J.,  31. 

Perati!,  And.,  10. 

Peri.  .SV*  Kiesewetter,  Schicksale 
und  Beschafltenheit  des  Welti  ichen 
Gesangs,  58. 

Pericles.  See  Collignon,  Histoire  de 
la  sculpture  Grecque,  19. 

Perkins,  C.  C,  31,  and  Dwight,  J.  S., 
58. 

Perkins,  Emma  R.,  trans.  See  Diehl, 
Excursions  in  Greece,  5. 

Perrot,  G.,  and  Chipiez,  C,  lo-ii. 

Perry,  W.  C,  31. 

Persia,  antiquities  of.  See  Babelon, 
Archsologie  orientale,  2. 

Persian  art,  Gayet,  6,  Smith  12. 

Persian  music.  See  kiesewetter.  Die 
Musik  der  Araber,  62. 

Persian  pottery.  See  Fortnum,  De- 
scriptive catalogue,  50. 

Petrie,  W.  M.  F,  11,  S2. 

Pfohl,  F.,  72. 

Phidias.  See  Story,  Excursions  in 
art  and  letters,  13;  Coltignon,  His- 
toire de  la  sculpture  Grecque,  19; 
Murray,  History  of  Greek  sculpt- 
ure, 30. 

Philharmonic  Society  of  New  York, 
memorial  of  the  fiftieth  anniver- 
sary of  the  founding,  Krehbiel,  58. 

Phillips,  C,  3(. 

Philosophy  of  art,  Taine,  13. 

Philosophy  of  music,  Pole,  70. 

Phoenicia,  history  of  ancient  art  in, 
Perrot  and  Chipiez,  11. 

Phrygia,  history  of  ancient  art  in, 
Perrot  and  Chipiez,  11. 

Pianoforte,  description  and  history  of, 
and  of  the  older  keyboard  stringed 
instruments,  Hipkins,  57;  music. 
Fillmore,  57 ;  origin,  pr-^gress,  and 
construction,  Rimbault,  59;  playing 
and  literature,  Weitzman,  sg;  sonatas 
for,  Shedlock,  59;  aesthetics  of,  Kul- 
lak,  70. 

Pictures,  old-fashioned  historical,  see 
Dargenty.Le  Baron  Gros,  21;  how 
to  judge.  Van  Dyke,  36 ;  emancipa- 
tion of.  Hall  ward,  see  Transactions 
of  the  National  Association  for  the 
Advancement  of  Art,  53. 

Pisa  Cathedral,  bronze  doors  of.  See 
Desjardins,  Jean  Bologne,  21. 

Pissaro.  See  Lecomte,  L'art  impres- 
sionniste,  37. 

Plaidy,  piano  method  of.  See  Kullak, 
70, 

Planch^,  History  of  British  costume. 
S*i  Prefatory  note,  48. 

Plans.    See  Maps  and  plans. 

Plant    form,  studies   in,  Lilley  and 

__Midgley,  51. 

Flast  jc  casts.    St*  Caats. 


Plate,  Middleton,  ji;  illustrated  cata- 
logue of ,  in  the  Fitzwilliam  Museum, 
Foster  ««(/  Atkinson,  50. 

Piatt,  C.  A.,  44. 

Plutarch  upon  music,  Westphal,  6t. 

Poetry,  Watts,  14;  Homeric,  see  Gard- 
ner, New  chapters  in  Greek  history, 
5 ;  music  and  the  boundaries  of, 
Arabros,  69. 

Pohl,  C.  F.,  66. 

Pole,  W.,  66,  70. 

Pollard,  A.  W.,  31. 

Pollen.  J.  H.,  52. 

Polyphony,  first  efforts  in.  See  Reiss- 
mann,  Allgemcine  Geschichte  der 
Musik,  56. 

Pompadour  interiors.  See  Mantz, 
Francois  Boucher,  28. 

Pompeii,  archaeological  rambles  in, 
Boissier,  3. 

Poole,  R.  L.,  65. 

Poole,  S.  L.,  n. 

Porcelain,  Sturgis,  53 ;  of  the  United 
States,  Barber,  48:  of  China,  Du 
Sartel,  49:  history  of,  mediaeval 
and  modern,  Marryat,  51 ;  of  all 
times  and  nations.  Prime,  52.  See 
also  Ceramics,  Pottery. 

Portfolio  {The),  11. 

Port/olio  monographs :  Armstrong, 
Art  of  W.  Q.  Orchardson,  16.  Art 
of  Velasquez,  16,  Life  of  VelaaCj  •.-r, 
16,  Gainsborough,  16 ;  Cartwriglit, 
Jules  Bastien-Lepage,  18,  Raphael, 
18 ;  Cundall,  DUrer's  engravings, 
21;  Dcstrt^e,  Renaissance  of  sculpt- 
ure in  Belgium,  21  ;  Grahame, 
Claude  Lorrain,  21 ;  Phillips,  An- 
toine  Walteau,  31,  Frederick  Wjl'r- 
er,  31,  Picture  gallery  of  Charles  I., 
31;  I'ollard,  Italian  book  illustra- 
tions, 31 :  Stephens,  Dante  Gabriel 
Rossetti,  35. 

Portrait  painting.  See  Hamerton,  Man 
in  art,  24. 

Portraits,  of  Medicean  dukes  of  Mi- 
chael-Angelo,  jt^«"  Goodyear,  Roman 
and  mediaeval  art,  6  ;  of  sovereigns, 
see  Lecoy  de  b  Marche,  Les  sceaux, 
27  ;  of  Washington,  see  Mason,  Life 
and  works  of  Gilbert  Stuart,  28  ; 
of  Marshall  Prim,  j<r?  Marx,  Henri 
Regnault,  28 ;  medallion,  see  Pro- 
pert,  32  ;  of  Charles  V.,  Ferdinand, 
King  of  the  Romans,  and  John  of 
Leyden,  see  Scott,  The  little  mas- 
ters, 35. 

Portugal,  architecture  of  the  Renais- 
sance in.  See  Haupt,  Baukunst  der 
Renaissance,  42. 

Posters,  French.  Alexandre,  15;  Amer- 
ican, Bunner,  18;  picture,  Hiatt, 
25 ;  Italian,  Jaccaci,  25  ;  modern, 
see  Modern  poster  (The),  29  ;  and 
poster  designing  in  England,  Spiel- 
man,  35. 

Pottery,  Sturgis,  53 ;  old  English,  see 
Jewiit,  Half-hours  among  some 
English  antiquities,  7  ;  and  porce- 
lain of  the  United  States,  Barber, 
48;  history  of  ancient.  Birch.  48, 
see  also  Deck,  La  fa  ence,  49 ;  De- 
scriptive catalogue  of.  Fortnum,  50; 
dictionary  of,  .Tf;  Gamier,  Diction- 
naire  de  la  ci^ramique,  50 ;  and  por- 
celain, Marryat,  51,  Prime  52  ; 
Greek,  Rayet  and  Collignon,  ^2; 
see  also  Alexandre,  Jean  Carries, 
48;  Burty,  Bernard  Palissy,  49. 

Pougin,  k...  66. 

Poynter,  E.  J.,  31 ;  and  Head,  31  ; 
and  Buxton,  31;  and  Smith,  45-46. 

Praeger,  F.,  trans.    See  Naumann,  56. 

Pre-Christian  music.  See  Reissmann, 
Allgemeine  Geschichte  der  Musik, 

56- 

Pr^curseurs  de  la  Renaissance, 
MUntz,  10. 

Preludes  and  studies,  Henderson,  73. 

Pre-Raphaelitism,  Ruskin,  33;  see  also 
Rossetti,  Fine  art,  13;  Ruskin,  Lect- 
ures on  architecture  and  painting, 
12 ;  Bell,  Sir  Edward  Burne-Jones, 
17 ;  Sharp,  Dante  Gabriel  Rossetti, 
35  ;  Wood,  Dante  Gabriel  Rossetti, 

Price,  B.,  35,  44. 

Prideaux,  S.  T.,  «. 

Prima  donna  'The),  her  history  and 


surroundings  from  the  xvii.  to  the 
XIX.  century,  Edwards,  57. 

Prime,  W.  S.,}3. 

Primitive  music,  Wallaschek,  63. 

Prints,  Japanese,  see  Anderson,  J.ip- 
anese  wood-engravings,  16;  early 
Italian,  Fisher,  22;  Diirer's,  Eph- 
russi,  22;  Blake's,  see  Gilchrist,  23; 
Van  Dyck's,Guifl[rey, 23-24; ancient, 
see  Haden,  About  etching,  24  ;  of 
Fine  Arts  Society,  see  Haden,  22; 
introduction  to  the  study  and  col- 
lection of  ancient,  Wiltshire,  37; 
see  also  Beraldi,  Les  graveurs  du 
dix-neuviime  si^cle,  17;  Ruskin, 
Two  paths,  12,  Ariadne  Florentina, 
34.    See  also  Etchings. 

Prior,  E.  S.  See  Morris,  Arts  and 
crafts  essays,  51-52. 

Propert,  J.  L.,  32. 

Proust,  Ant.,  n, 

Prout,  E.,  70,  see  also  Holmes,  '^4. 

Provence,  architecture  of,  Macgib- 
bon,  43. 

Prudhon.  See  Dc  Goncourt,  L'art  du 
xviii.  si6clc,  4. 

Publishers,  music  catalogues  of,  74. 

Puccini.  See  Streatfeild,  Masters  of 
Italian  music,  66. 

PuUan,  R.  P.  See  Texier,  C,  and 
Pullan,  46. 

Punch,  history  of,  Spielman,  35. 

Purcell,  Cummings,  64  ;  see  also  Rim- 
bault, Pianoforte,  59. 

Puriati.    See  Jaccaci,  Italian  posters, 

25- 

Puvis  de  Chavannes,  Cox,  20;  see 
also  Morin,  French  illustrators,  30. 

Pyle,  H>  See  Smith,  American  illus- 
trators, 35. 

Quarnero  (The).  See  Jackson,  Dal- 
matia,  the  yuarnero  and  Istria,  42. 

Racmet,  A.  C.  A.,  52. 

Radcliflfe,  A.  G,  32. 

Ramann,  L.,  66;  trans.,  see  Liszt,  62. 

Ramdc,  D.,  44. 

Ramsay,  W.,  11. 

Raphael,  Harford,  7,  Cartwright,  18, 
Crowea«rfCavalcaselle,2o,  Karoly, 
26,  MUntz,  30;  see  also  Sweetser, 
Artist  biographies,  36. 

Rational  building,  Huss,  42. 

Rayet,  0.,a«(/ Collignon,  M.,  52. 

Realism  in  fine  art,  Sturgis,  13. 

Reber,  F.  von,  44. 

Redende  Ktinste  (Die),  73. 

Redford,  G^  32. 

Redgrave,  G.  R.,  31. 

Redgrave,  R.  and  S.,  32. 

Rees,  J.  R.,  32. 

Regnault,  \\.,yiaxx,^i\  see also'BXa.nc, 
Artistes  de  mon  temps,  3;  De  Los- 
talot,  Les  chefs  d'ceuvres  de  l'art 
du  xix.  si^cle,  21 ;  Hamerton,  Mod- 
ern Frenchmen,  24. 

Reid,  G.,  32. 

Reimann,H.  5??  Ambros,  Geschich- 
te der  Musik,  55. 

Reinach,  S.,  u,  32. 

Reinicke.  See  Fuller-Maitland,  Mas- 
ters of  German  music,  64. 

Reissmann,  A.,  56,  58-59,  66;  see  also 
Mendel  and  Reissmann,  73. 

Religious  art,  Hamerton,  24.  See  also 
Christian  art.  Sacred  art. 

Religious  poetry,  and  music,  Schlet- 
terer, Geschichte  der  Geistlichen 
Dichtung  u.  KirchUchen  Tonkunst, 

59- 

Rembrandt,  Michel,  28-29,  Mollett, 
20,  Vosmaer,  37,  see  also  Sweetser, 
Artist  biographies,  36;  etched  work 
of,  Haden,  24;  etchings  of,  Hamer- 
ton, 24. 

Remington,  F.  See  Smith,  American 
illustrators,  35. 

Renaissance  (The),  and  modern  art, 
Goodyear,  6;  in  France,  De  La- 
borde,  4,  Pattison,  10:  in  Italy  and 
France,  MUntz,  g;  in  Italy,  Frizzoni, 
5,  Pattison,  10,  Symonds,  13,  Gniy- 
er,Les  oeuvres  d^art  de  la  Kenais- 
sance  Italienne  au  Temple  de  Saint 
Jean,  6,  MUntz,  Histoire  de  l'art 
pendant  la  Renaissance,  Les  pr^- 
curseurs  de  la  Renaissance,  10;  see 
also  Molmenti,  La  vie  priv^e  &  Ve- 


Index, 


87 


nise,  0,  Vischer,  Luca  Signorelli  u. 
ftalienische^  Renaissance,   37; 


die 


Venetian  and  Florentine  painters 
of,  Berenson,  17;  sculpture  of,  Scott, 
34;  painting  of,  Woltmann  and 
Woermann,  37;  architecture  of.  Pa- 
lustre,  44,  Smith  and  Poynter,  4^- 
f6;  in  Portugal,  Haupt,  42;  and 
Jaroque,  Wtilfflin,  Renaissance  und 
Barock,  47;  ses  also  Molmenti,  Car- 
paccio,  23;  MUntz,  Donatello,  30; 
Pollard,  Italian  book  illustrations, 
31;  Scott,  Fra  Bartolommeo,  34. 
Renan,  A.,  52. 
Reyer.      See    Hervey,    Masters    of 

French  music,  64. 
Reynolds,  Sir  Joshua,  Chesneau,  18, 
Pnillips,  31;  see  also  Sweetser,  Ar- 
tist biographies,  36. 
Rheinbergcr.      See    Fuller-Maitland, 

Masters  of  German  music,  64. 
Rhode  Island   houses,  early,  Ishum 

a>id  Brown,  42. 
Rhodian  ware,  Fortnum,  50. 
Rhys,  E  ,  «. 
Riano,  J.  F.,  52. 
Ricardo,  H.     Sec   Morris,   Arts  and 

craftsessr.ys,  51-52. 
Ricci,  C,  32-33. 
Richardson,  R,  33, 
Richelieu,  Ktudes  d'art  et  d'histoire 
de  I'art  Fran^ais  au  temps  au  Rich- 
elieu et  Mazarin,  Lemonnier,  8. 
Richtenberger,   E.      See  Lafenestre, 

G.,  and  Richtenberger,  27. 
Richter,  E.   F.,  70;  see  also  Broek- 

haven,  69. 
Richter,  J.  P.,  33. 
Riemann,   H.,   59,   73;  see  also  Kul- 

lak,  70;  trans.,  Gevaert,  60. 
Rimbault,  E.   F.,   59;  see  also  Hop- 
kins, E.  J.,  and  Rimbault,  57-58. 
Ringof  theNibelung,  Wagner's,  Dip- 
pold,  67;  guide  through  the  music 
of,  Wolzogen,  68. 
Rio,  A.  F.,  33. 

Ritter,  Fanny  R.,  trans.     See  Schu- 
mann, 72. 
Ritter,  Frederic  L.,  59. 
Riviera,  architecture'  of  the,  Macgib- 

bon,  .J3. 
Roba  di  Roma,  Story,  13. 
Robinson,  E.,  52. 
Robinson,    T.     See    Modern   French 

masters,  29. 
Robinson,  W.,  44-45. 
Rock,  I'ery  Ke?:  Dr.,  52. 
Rockstro,  W.  S.,  56,66. 
Rococo.    See  Mantz,   Franfois  Bou- 
cher, 28,    Thirion,    Les    Adam  et 
Clodion,     36 ;      Renaissance     and, 
Wiilfflln,  47. 
Rodin.    See  Lecomte,  L'art  impres- 

sionniste,  27. 
Roper-Miles,  L.,  33. 
Ronault  de   Fleury,  G.,  45;  see  also 
Clement,   Handbook  of   legendary 
and  mythological  art,  ig. 
Roman  antiquities.    See  Rome. 
Roman  architecture,  Durim  Die  Bau- 
kunst  der  Roemer,  40;  Essenwein, 
Die  Ausgiinge  der  ciassischen  Bau- 
kunst,  40;  see  also  Smith  and  Slater, 
Architecture,    classical    and    early 
Christian,  46. 
Roman  art,  Goodyear,   6;    literature 

in  relation  to,  Burn,  3. 
Roman  literature  in  relation  to  Roman 

art.  Burn,  3. 
Roman  music.     See  Reissmann,  All- 
gemeine  Geschichte  der  Musik,  56. 
Roman  pottery,  Birch,  48 ;   vases  in 
the  Boston  Museum,  Robinson,  52. 
Roman  sculpture,  Reinach,  32,  Red- 
ford,  32. 
Romanesque  architecture,  Corroyer, 
L'architecture  Romane,  39  ;  Essen- 
wein,   Die    Romanische    und    die 
Gothische  Baukunst,  40;  Jackson, 
Dalmatia,  the  Quarnero  and  Istria, 

4»- 

Romantic  school  of  music.  See  Lang- 
hans,  56. 

Rome,  archiEology  of,  Helbig  and 
1  ync'iani,  7  ;  Manuel  d'archeologie 
Etrusque  et  Romaine,  Martha,  8 ; 
manual  of  Roman  antiquities,  Ram- 
say aW  Lanciani,  It;  and  Pompeii, 
Boissier,  3;  ancient,  and  its  neigh- 


borhood. Burn,  3;  history  of  the  de- 
struction of,  in  the  light  of  recent 
discoveries,  Lanciani,  7-8 ;  remains 
ofancieit,  Middleton,9,  30;  pagan 
and  Christian,  Lanciani,  8 ;  Chris- 
tian, Frothingham,  s;  of  to-day  and 
yesterday,  Dennie,  4 ;  walks  in, 
Stendhal,  12. 

Root,  J.  W.,  25,  45. 

Rore,  C.  de.  See  Wir.terfeld,  Johan- 
nes Gabrieli,  59. 

Roscoe,  T.,  trans.  See  Cellini,  Ben- 
venuto,  3. 

Rosenberg,  A.,  12. 

Rosengarten,  A.,  45. 

Ross,  T.  See  Macgibbon,  D.,  and 
Ross,  43. 

Rossel,  Airs.,  trans.  See  Wauters, 
Peinture  Flamande,  37. 

Rossetti,  D.  G.,  Sharp,  s^,,  Stephens, 
35i  Wood,  37;  see  also  Rossetti,  W. 

Rossetti,  W.  M.,  12. 

Rossini  and  the  modem  Italian  school, 
Edwards,  64  ;  see  also  Fink,  Wesen 
u.  Geschichte  der  Oper,  57. 

Rouaix,  P.,  52-53. 

Rousseau,  Theodore,  Coffin,  19. 

Rubens,  Peter  Paul.  See  Gilbert, 
Landscape  in  art,  23. 

Rubinstein,  66. 

Rude,  F.,  Bertrand,  17;  see  also  Ham- 
erton.  Modern  Frenchmen,  24. 

Rudler,  F.  W.,  53, 

Ruskin,  J.,  worlcs  of,  12,  33-34,  45  ; 
ed.,  see  Owen,  Art  schools  of  medi- 
!eval  Christendom,  10 ;  studies  in. 
Cook,  4;  work  of,  Waldstein,  14  ; 
see  also  Cook,  Popular  handbook  of 
National  Gallery,  iq,  Chesneau,  La 
peinture  Anglaise,  18. 

Russian  art,  Maskell,  8,  VioUet-le- 
Duc,  14  ;  influence  of  Byzantine  on, 
see  Bayet,  L'art  Byzantin,  3. 

Russian  music,  Istomin  and  LUtsh, 
62. 

Rustic  school.  See  Hamerton,  Pres- 
ent stale  of  fine  art  of  France,  7. 

SaalschUtz,  J.  L.,  60-61. 

Sabine.  H.,  45. 

Sacred  art,  history  of  mediaeval  Chris- 
tianity and,  Hemans,  25  ;  Hopfner, 
Die  Heiligen  in  der  Christlichen 
kunst,  25;  and  legendary  art,  Jame- 
son, 26.  5ff  a/.;0  Christian  art,  Re- 
ligious art. 

Sacred  buildings,  adornment  of,  see 
Gambler,  Ministry  of  fine  art,  5, 
Lindsay,  Sketches  of  the  history  of 
Christian  art,  27,  Butler,  Ancient 
Coptic  churches  of  Egypt,  39.  See 
also  Cathedrals,  Churches. 

St.  Gall,  singing  school  of,  Schu- 
berger,  61 ;  see  also  PaWographie 
Musicale,  58,  Gevaert,  60,  Lambil- 
lotte,  60. 

Saint-Germain-en-Laye,  Museum  of. 
See  Reinach,  Antiquities  nation- 
ales,  II. 

St.  John,  Temple  of.  See  Temple  of 
St.  John. 

St.  Mark's  rest,  Ruskin,  34. 

St.  Nicholas.  See  Century  gallery, 
18. 

St.  Paul's  Cathedral,  history  of,  Long- 
man, 43;  see  also  Armstrong,  Alfred 
Stevens,  16. 

St.  Petersburg.  See  Atkinson,  Art 
tour  to  northern  capitals  of  Europe, 
2. 

Saint-Sacns.  See  Hervey,  Masters  of 
French  music,  64. 

St.  Sophia,  church  of,  Lethaby  and 
Swainson,  42;  see  a/jo  |.Salzenberg, 

45- 

Saints,  stories  of,  in  art,  Clement,  19; 
see  also  Jameson,  Sacred  and  leg- 
endary art,  26. 

Salvator  Rosa.  See  Gilbert,  Land- 
scape in  art,  23. 

Salvayre.  See  Hervey,  Masters  of 
French  music,  64. 

Salzenberg,  W.,  45. 

Sambourne,  L.  See  Spielman,  His- 
tory of  Piittch,  35. 

Sanderson,  C.  See  Morris,  Arts  and 
crafts  essays,  51-52. 

Sandys,  J.  E.,  ed.    See  Seyffert,  15. 


Santa  Croce.  See  Ruskin,  Mornings 
in  Florence,  34. 

Saricep  art  in  Egypt,  Poole,  11. 

Sardinia,  h<story  of  ancient  art  in, 
Perrot  (iHrfChipiez,  11. 

Sargent,  J.  S.  See  Fenollo^a,  Mural 
painting  in  the  Boston  Public  Li- 
brary, 22. 

Sarto,  Andrea  del,  Scott,  j^. 

Sartoris.    See  Jaccaci,  Italian  posters, 

25- 

Saunier,  C,  34. 

Savonarola,  Harford,  7. 

Saward,  B.  C.  See  CauUeild  and 
Saward,  40. 

Savce,  A.  H.,  12;  ed.,  see  Maspero, 
Dawn  of  civilization,  9. 

Scandinavia,  industrial  arts  of,  Hilde- 
brand,  50. 

Scarlatti,  D.  See  Rimbault,  Piano- 
forte, 59. 

Schindler,  A.,  66. 

Schletterer,  H.  M.,  59. 

Schlieman,  Schuchhardt,  12. 

Schoelcher,  V.,  66. 

Schreiber,  G.  I.,  12. 

Schubert,  Franz,  Frost,  64,  Kreissle, 
65. 

Schubiger,  P.  A  ,  61. 

Schuchhardt,  C,  12. 

Schultz,  A.,  12. 

Schumann,  Clara.  See  FuUer-Mjit- 
land.  Masters  of  German  music, 
64. 

Schumann,  Robert,  72,  Reissmann,  66, 
Wasielewski,  67. 

Schur^,  E.,  68. 

Schuyler,  M.,  ^5. 

Scotland,  architecture  of,  Waring,  14, 
Macgibbon  and  Ross,  43. 

Scott,  Sir  G.,  45. 

Scott,  L.,34. 

Scott,  W.B.,34,  S3. 

Scriiner's  Magazine,  Coffin,  19. 

Sculptors,  lives  of,  Vasari,  13;  see  also 
Blanc,  Artistes  de  mon  temps,  3; 
famous,  Shedd,  35;  Barye,  Alexan- 
dre, 15;  Carpeaux,  Chesneau,  18; 
Carries,  Alexandre,  16;  Etex,  Man- 
geant,  28;  Phidias  and  his  success- 
ors, Murray,  30  ;  Rodin,  see  Lecom- 
te, L'art  impressionniste.  27;  Rude, 
Bertrand,  17;  Stevens,  Aimstrong, 
16.     See  also  Michelangelo. 

Sculpture,  painting  and  (department), 
15-38. 

Sculpture,  Sturgis,  13,  36;  see  also 
Gambler,  Ministry  of  fine  art  5, 
Hametton,  Present  state  of  fine 
urt  in  France,  7;  grammar  of,  Blanc, 
Grammaire  des  arts  du  dessin,  3; 
historyof,  Cavallucci,i8;  Marquand 
and  Frothingham,  28 ;  ancient, 
Mitchell,  29,  Paris,  30,  Redford, 
32;  Byzantine,  Bayet,  La  peinture 
et  la  sculpture  Chr^tienne  en  ori- 
ent, 16;  French,  Gonse,  23,  Cla- 
rac,  Musee  de  sculpture,  19,  Coura- 
jod,  L'origines  de  l'art  modernes, 
20 ;  German,  Forster,  Denkmale 
deutsche  Baukunst,  Bildnerei  u. 
Malerei,  v.  EinfUhrung  des  Chris- 
tenthums  bis  auf  die  Neuste  Zeit, 
5;  Gothic,  Gonse,  6;  Greek,  see 
Greek  sculpture;  Greek  and  Ro- 
man, Perry,  31;  Roman,  Reinach, 
32;  Italian,  Perkins,  31 ;  Renais- 
sance, see  Frizzoni,  5,  in  Belgium, 
Destr^e,  21,  and  modern,  Scott,  34; 
Venetian,  Boulli^r,  L'art  Venetien, 
3;  schools  and  masters  of,  Radcliffe, 
32;  lectures  on,  see  Ruskin,  Aratra 
Pentelici,  33-34,  Relation  between 
Michael  Angelo  and,  Tintoret,  34; 
famous,  Shedd,  35;  catalogue  of 
casts,  Waldstein,  37;  alliance  of,  to 
building,  Simonds,  Belcher,  and 
Benson,  see  Transactions  of  the  Na- 
tional Association,  53. 
Seals,  Lecoy  de  la  Marche,  Le» 
sceaux,  27 ;  Middleton,  Engraved 
gems  of  classical  times,  29;  Demay, 
Le  costume  au  Moyen-Age  d'apres 
les  sceaux,  49. 
Seckendorff,  E.  von.  See  VillemarquO, 

63. 
Seeley,  J.  R.,  12. 
Seguin,  J.,  S3. 
Selvatico,  P.,  12;  and  Paravtcini,  10; 


<?n</Chirtani,  ia;>Ma/j0Cavallucci, 

Sensier,  A.,  35. 
Seubert,  A.,  15. 
Seven  lamps  of  architecture,  Ruskin, 

Seward,  T.  F.    See  Marsh,  Story  of 

the  Jubilee  singers,  63. 
Seyffert,  O.,  y. 
Seymour,  T.  D.,  u. 
:Sgambati.    See  Streatfeild,  Masters 

of  Italian  music,  66. 
Shadwell,  C.  L.    See  Pater,  Greek 

studies,  10. 
'Shakespeare  and  music,  Naylor,  58. 
Sharp,  W..  35. 

'Sharps  and  flats,  Maretzek,  58. 
Shedd,  Julia  A.,  35. 
Shedlock,  J.  S.,  jm  ;  trans.,  see  Wag- 
ner, Richard  Wagner's  letters,  68. 
Shepherd's  tower  (The).   See  Ruskin, 

Mornings  in  Florence,  31. 
Sicily,  Byzantine  wall-paintings  in. 
See   Diehl,    L'art    Byzantin    dans 
I'ltalie  m^ridionale,  4. 
Sienese  school  of  art.    See  Mesnard, 

Paintings  at  Sienra,  38. 
Signa'.e  fiir  die  Musikalische  Welt, 

Ti- 
Signorelli,  Luca,  Vischer,  37. 
Silversmiths'  work  in  South  Kensing- 
ton Museum,  Pollen,  53.    See  also 
Goldsmiths'  work. 
Simmonds,  Florence,  ira  ns.     See  M  i- 
chel,  Rembrandt,  38-29;  Ricci,  Cor- 
reggio,  32-33. 
Simonds,  G.    See  Transactions  of  the 
National  Association   for  the  Ad- 
vancement of  Art,  53. 
Simson,  J.  P.,  trans.    See  Weber,  67. 
Sisley.    See  Lecomte,  L'art  impres- 

slonniste,  27. 
Sistine  Chapel,  frescoes  of  Michel- 
angelo in,  see  Wilson,  Life  and 
works  of  Michelangelo,  14;  story  of 
Genesis  in,  see  Goodyear,  Roman 
and  mediseval  art,  6. 
Sketches  from  the  subject  and  neigh- 

borlands  of  Venice,  Freeman,  41. 
Slade  School  lectures  on  illustration 

of  books,  Pennell,  31. 
Slater,  J.    See  Smith,  T.  R.,  and  Sla- 
ter, 46. 
Slave   songs   of   the  United    States, 
Allen,  Ware,  and  Harrison,  61 ;  see 
also   Marsh,  Story  of  the  Jubilee 
singers,  63. 
Smith,  F.  Hopkinson,  9,  35. 
Smith,  G.  W.,  31. 
Smith,  R.  M.,  is. 
Smith,  T.  R.,  and  Poynter,  E.  J.,  45- 

46;  ant/ Slater,  J.,  46. 
Smith,  j'jVW.W.,  15. 
Snuff-boxes.    See  Propert,  History  of 

miniature  art,  33. 
Sokolowsky,  B.  von.     See  Ambros, 

Geschichte  der  Musik,  55. 
Some  artists  at  the  Fair,  9. 
Sommer,    H.     See   Fuller-Maitland, 

Masters  of  German  music,  64. 
Sonatas,  pianoforte,  Shedlock,  59. 
Songs,  of  the  xv.,  xvi.,  xvii.,  and 
XVII.  centuries,  Mmne-Master-Folk, 
see  Reissmann,  Das  Deutsche  Lied, 
58-59;  secular,  Kiesewetter,  Schick- 
sale  und  Beschaffenheit  des  Welt- 
lichen  Gesangs,  58 ;  German,  Reiss- 
mann, 58-59 ;  Erk  and  BUhme, 
63;  American  slave,  Allen,  Ware, 
and  Harrison,  61,  Marsh,  62 ;  Ba- 
haman,  Edwards,  63 ;  Canadian, 
Gagnon,  63 ;  of  Brittany,  Ville- 
marqu^,  Barzaz-Breiz,  63 ;  Irish, 
Walter!  6i. 
Sound,  Tyndall,  70;  and  music,  Zahm, 

70. 
South  Kensington  Handbooks:  Smith, 
Persian  art,  17 ;  Evans,  Industrial 
arts,  49;  Worsaae,  Industrial  arts  of 
Denmark,  53 ;  Engel,  Musical  in- 
struments, 57. 
South  Kensington  Museum,  bronzes 
of  European  origin  in,  Fortnum, 
33;  Malolica,  Htspano-Moresco, 
Persian,  Damascus,  and  Rhodian 
wares  in,  Fortnum,  i/a ;  ivories  an- 
cient and  medieval  in,  Maskell,  st ; 
ancient  and  modern  furniture  and 
wood-work  in,  Pollen,  53 ;  ancient 


and  modern  gold  and  silversmiths' 
work  in.  Pollen,  53 ;  collection  of 
church     vestments,    dresses,     silk 
stuffs,  needlework,  and   tapestries 
in.  Rock,  53. 
Spain,  Kunst  und  KUnstlerdes  Mittel- 
alters  und  der  Neuzeit,  Dohme,  5 ; 
artists  of,  Stirling-Maxwell,  13-13  ; 
La  peinture  Espagnole,  Lefort,  37 ; 
Gotnic  architecture  in.  Street,  46; 
industrial  arts  of,  Riafio,  53. 
Spanish  school  of  art,  Lefort,  37. 
Sparkes,  J.,  ed.     See  Chesneau,  La 
peinture  Anglais,  18. 

Spielman,  M.  H.,  35. 

Spiers,  R.  P.,  ed.  See  Fergusson, 
History  of  architecture  in  all  coun- 
tries, 40. 

Spinet.  See  RImbault,  Pianoforte, 
59. 

"Spirit-fresco"  process.  See  Gam- 
bler, Ministry  of  line  art,  5. 

Spitta,  P.,66. 

Spohr,  L.,  66. 

Stage  setting  of  the  xvi.  century, 
see  Celler,  Les  origines  de  I'op^ra 
et  le  ballet  de  la  reine,  57. 

Stained  glass.    See  Glass. 

Stainer,  Sir  J.;  (>\\and  Barret,  73. 

Stanford.  See  Willeby,  Masters  of 
English  music,  67. 

Statham,  H.  H.,  46. 

Statuettes,  Renaissance  and  later, 
see  Maskell,  Description  of  ivories 
in  South  Kensington  Museum,  51. 

Steele,  Frances  M.,(t»f/ Adams,  Eliz- 
abeth L.  S.,  53. 

Stendhal,  de  (Henri  Beyle),  12,  35. 

Stephens,  F.  G.,  35. 

Stevens,  A.,  Armstrong,  16 ;  com- 
pared with  Manet,  see  Bacon,  Pa- 
risian art  and  artists,  16. 

Stevenson,  R.  A.  M.,  35,  trans.  See 
Delaborde,  31. 

Stigand,  Isabella,  S.  E.,  trans.  See 
Wasielewski,  59. 

Stillman,  W.  J.  See  Cole,  Old  Italian 
masters,  19. 

Stirling-Maxwell,  Sir  W.,  12-13. 

Stockholm.  See  Atkinson,  Art  tour 
to  northern  capitals  of  Europe,  2. 

Stokes,  Marg.    See  Didron,  33. 

Stone,  carved.  See  PaUologue,  L'Art 
Chinois,  10. 

Stones  of  Venice,  Ruskin,  45. 

ijcorv-  W.  W.,  13. 

Story  of  a  young  designer,  Viollet-le- 


Duc,  36-37. 

Strait  gate  (The).  See  Ruskin,  Morn- 
ings in  Florence,  34. 

Stranahan,  jl/rj.  C.H.,  35-36. 

Strauss,  R.  See  Fufler-Maitland, 
Masters  of  German  music,  64. 

Streatfeild,  R.  A.,  66,  72. 

Street,  G.  E.,  46. 

Stringwork,  varied  occupations  in. 
Walker,  53. 

Struggle  of  the  nations,  Maspero,  9. 

Stuart,  Gilbert,  Mason,  28. 

Studies  in  both  arts,  Ruskin,  34. 

-  c,  H 


Studies  in   modern   music,  Hadow, 

7«- 
Studies  in  worship  music,  Curwen,  70- 

7'' 

Studio  methods  and  conversation. 
Couture,  20. 

Sturgis,  R.,  13, 36, 53;  European  archi- 
tecture, 46  ;  see  also  Homes  in  city 
and  country,  25. 

Styles  Fran(,-ais  (Les),  Lechevallier- 
Chevignard,  8. 

Suite,  Hanslick,  71. 

Sullivan,  Sir  A.  See  Willeby,  Mas- 
ters of  English  music,  67. 

Surrey,  old  cottage  and  domestic  ar- 
chitecture in  southwest,  Nevill,  44. 

Sutton  Place,  annals  of,  Harrison,  42. 

Swainson,  H.  See  Lethaby,  W.  R., 
and  Swainson,  42, 

Sweetser,  M.  F.,  36. 

Swords,  Japanese.  See  Gonse,  L'art 
Japonais,  6. 

Symbolism,  Christian,  see  Lethaby, 
Architecture,  mysticism,  and  mytn, 
8.    See  also  Iconography. 

Symonds,  J.  A.,  13 ;  trans.,  see  Cel- 
lini, 3. 

Symphonies,  standard,  Upton,  tj. 

Syria,  Mohammedan  art  in,  see  Gayet, 


L'art  Arabe,  6 ;  ancient  art  in,  Per- 
rot  and  Chipiez,  11  ;  cities  of,  see 
Longfellow,  Cyclopaedia  of  works 
of  architecture  in  Italy,  Greece,  and 
the  Levant,  43 ;  see  also  Maspero, 
Struggle  of  the  nations,  9. 

Tables,  making  of,  see  Benson,  Ele- 
ments of  handicraft  and  design,  48. 


Taine,  H.  A.,  13. 
Talks  on  art.  Hunt,  35. 
Talmud  (The),  the  magrepha  of.    See 
SaalschUtz,  Geschichte  u.  WUrde- 

ng  der  Musik  bei  den  Hebriiern, 
I. 

Tapestry,  Sturgis,  53;  history  of,  Guif- 
frey,  50,  Havard,  50,  MUntz,  52  ;  in 
collection  of  church  vestments. 
South  Kensington  Museum,  Rock, 
5a.    .SV^  also  Textile  fabrics. 

Tarbell,  F.  B.,  13. 

Teetgen,  A.,  73. 

Tempera  Middleton,39.  See alsoVtw- 
ral  painting. 

Temple  of  St.  John  Baptistery,  Flor- 
ence, CEuvres  d'art  de  la,  Gruyer, 
6. 

Ten  years'  digging  in  Egypt,  Petrie, 
II. 

Tenniel,  Sir  J.  See  Spielman,  His- 
tory of  Punch,  35. 

Terra-cotta,  Greek.  See  Murray, 
Handbook  of  Greek  archaeology,  10; 
French,  Thirion,  Les  Adam  et  Clo- 
dion,  36.     See  also  Pottery. 

Texier,  C.,  and  Pullan,  R.  P.,  46. 

Textile  fabrics,  Middleton,  51,  Sturgis, 
53 ;  collection  of  church  vestments, 
dresses,  silk  stuffs,  needlework,  and 
tapestries.  South  Kensington  Mu- 
seum, Rock,  53.    See  also  Tapestry. 

Thalberg,  piano  method  of.  Set  Kul- 
lak,  ^o. 

Thausing,  M.,  36. 

Thayer,  A.  W.,  66-67. 

Thibaut,  A.  F.,  73. 

Thirion,  H.,  36. 

Thomas,  A.  See  Hervey,  Masters  of 
French  music,  64. 

Thomas,  T.,  ed.    See  Paine,  65. 

Thompson,  B.  (Lady  Butler).  See 
Bacon,  Parisian  art  and  artists,  16. 

Thomson,  D.  C,  36. 

Thornbury,  W.,  36. 

Thoughts  about  art,  Hamerton,  7. 

Thoughts  of  great  musicians,  La 
Mara,  72. 

Tiles,  Persian,  see  Van  Dyke,  His- 
tory of  painting,  36 ;  processes  in. 
see  V.\\\^y  and  Midgley,  Studies  in 
plant  form,  51. 

Tintoretto,  Osier,  30;  and  Michael 
Angelo,  Ruskin,  34. 

Tirard,  Helen  M.,  trans.  See  Erman, 
Life  in  ancient  Egypt,  5. 

Titian,  Crowe  a>4/^Cavalcaselle,  20; 
see  also  Sweetser,  Artist  biogra- 
phies, 36. 

Tombs,  papal  and  imperial.  See  Lan- 
ciani.  Pagan  and  Christian  Rome, 
8 ;  at  San  Lorenzo,  .r^^  Goodyear, 
Roman  and  mediaeval  art,  6. 

Tone,  on  the  sensations  of,  Helm- 
holtz,  69-70 ;  From  the  tone  world, 
Ehlert,  71. 

Tools  and  implements,  of  ancient  and 
modern  peoples,  Hottenroth,  Le 
costume,  les  armes,  ustensiles  outils 
des  peuples  anciens  et  modernes, 
50 ;  of  carpenter,  blacksmith,  and 
other  craftsmen  of  the  Middle  Ages, 
see  Viollet-Ie-Duc,  Dictionnaire 
raisonnd  du  mobilier  Fran9ais,  53. 

Tournament  in  France  in  the  Middle 
Ages,  see  Viollet-le-Duc,  Diction- 
naire raisonn^  du  mobilier  Fran9ais, 

53- 
Town  halls,  Viollet-le-Duc,  Histoire 


d'un  Hotel  de  ville, 
fownsend,    P 
see  Jahn,  64. 


Townsend,    Pauline 


H;,  67, 


trans.. 


Trani.  See  Freeman,  Sketches  from 
the  subject  and  neighborlands  of 
Venice,  41. 

Transactions  of  the  National  Associa- 
tion for  the  Advancement  of  Art 
and  its  Application  to  Industry,  53. 

Transactions  of  the  Royal  Institute  of 
British  Architects.    See  Willis,  47. 


[ 


La 


Transatlantic  sketches,  James,  7. 
Tretbar,  Helen,  trans.    Set  Ehlert, 

?«• 
Treviso.   See  Freeman,  Sketches  from 

the  subject  and    neighborlands  of 

Venice,  41. 
Tristan  und  Isolde,  Wagner's  guide 

through  the  music  ofi  Wolzogen, 

68. 
Trouveres.    See  Coussemaker,  Adam 

de  la  Halle,  60. 
Troy,    Schliemann's  excavations  at, 

Schuchhardt,  12. 
Troyon.    See  Blanc,  Artistes  de  mon 

temps^j. 
Tryon,  D.  W.     See  Modern  French 

masters,  39. 
Tsountas,  C,  i-\. 

Tu  tor  architecture.  See  Three  peri- 
ods of  English  architecture,  Harris, 

42- 

Tumuli.    See  Monuments. 

Turkish  music.  See  Kiesewetter,  Die 
IVf  usik  der  Araber,  62. 

Turner,  J.  M.  W.,  Thombury,  36;  see 
also  Sweetser,  Artist  biographies, 
36;  Ruskin,  Lectures  on  architecture 
and  painting,  12,  Harbours  of  Eng- 
land, 33;  Wedmore,  Etching  in  Eng- 
land, 37. 

Turner,  Mary  E.  See  Morris,  Arts 
and  crafts  essays,  51-52. 

Turner,  T.  H.,46. 

Tuscan  art,  lectures  on.  See  Ruskin, 
Val  d'Arnoawrf  Laws  of  Fesole,  34. 

Tuscany,  A  traverslaToscane,  MUntz, 
to;  in  the  Middle  Ages,  Rohault  de 
Fleury,  45. 

Tuxedo  Park.  See  Price,  The  subur- 
ban house,  44. 

Two  paths  (The),  Ruskin,  12. 

Tyndall,  J.,  70. 

Undine.  See  Freeman,  Sketches  from 
the  subject  and  neighborlands  of 
Venice,  41. 

Upcott,  L.  E.,  36. 

Upton,  G.  P.,  7a;  trans.,  see  Nohl,  65. 

Universities,  study  of  art  in,  Wald- 
stein,  14. 

Utensils.    See  Tools. 

Vachon,  M.,  36,  46. 

Val  d  Arno,  Ruskin,  34. 

Van  Aalst,  J.  A.,  63. 

Van  Brunt,  H.,  46-47. 

Van  Dyck.A.,  Guiflrey,  23-24;  and  his 
pupils,  Michiels,  29;  see  also  Sweet- 
ser, Artist  biographies,  36. 

Van  Dyke,  J.  C.,  36;  see  also  Cole, 
Old  Dutch  and  Flemish  masters, 
39;  Modern  French  masters,  39. 

Van  Rensselaer,  Mrs.  S,,  47. 

Vasari,  G.,  13;  see  also  Mesnard,  La 
peinture  ft  Sienne,  28. 

Vases,  Greek,  see  Murray,  Mythol- 
ogy and  monuments  of  ancient 
Athens,  7,  10;  their  form  and  deco- 
ration, Lau,  Die  Griechischen 
Vasen,  ihre  formen  und  decoration- 
system,  51;  Etruscan  and  Roman 
in  Boston  Museum,  Robinson,  52. 

Vatican,  the  Amazon  in  the.  See 
CoUignon,  Histoire  de  la  sculpture 
Grecque,  19. 

Vaulted  book  (The).  .See  Ruskin, 
Mornings  in  Florence,  34. 

Vaults  of  the  Middle  Ages.  See 
Gothic  vaulting 

Vedder,  E.  See  Smith,  American  il- 
lustrators, 35. 

Velasquez,  Armstrong,  16,  Justi,  26, 
Lefort,  27,  Michel,  29,  Stevenson, 
35;  see  also  Stirling-Maxwell,  An- 
nals of  the  artists  ofSpaln,  12-13. 

Venetian  art,  BouUier,  3,  De  Pontes, 
21 ;  see  also  Karoly,  tiuide  to  the 
paintings  of  Venice,  26. 

Venetian  music.  See  Reissmann, 
Allgemeinc  Geschichte  der  Musik, 


Index. 


56,  Winterfeld,  Johannes  Gabrieli, 
59- 

Venice,  La  vie  priv^e  ft  Venise,  Mol- 
menti,  9;  history  of  painting  in,  from 
XIV.  to  XVI.  century,  Crowe  and 
Cavalcaselle,  20;  guide  to  paintings 
of,  Karoly,  26;  St.  Mark's  rest:  the 
history  of,  Ruskin,  34;  Academy  of 
fine  arts  at,  guide  to  the  principal 
pictures,  Ruskin,  34;  sketches  from, 
Freeman,  41;  stones  of,  Ruskin,  45; 
architecture  of,  Rus'cin,  45. 

Venus  de  Milo.  See  FurtwBngler, 
Masterpieces  of  Gr^ek   sculpture, 

Verdi,  Pougin,  66;  see  also  Edwards, 
Rossini,  64  ;  Streatfeild,  Masters  of 
Italian  music,  66 ;  Pfohl,  Die  Mo- 
derne  Oper,  72. 

Vernet,  Horace,  Rees,  32. 

Veron,  E.,  36. 

Verona,  history  of  painting  in,  from 
xiv.  to  XVI.  century,  Crowe  and 
Cavalcaselle,  20. 

V^ronise,  Paul,  Yriarte,  37. 

Verrall,  Marg.  de  G.,  trans.  See 
Harrison,  Mythology  and  monu- 
ments of  ancient  Athens,  7. 

Vicenza,  history  of  painting  in,  from 
XIV.  to  XVI.  century,  Crowe  and 
Cavalcaselle,  20. 

Vidal,  A.,  59. 

Vienna,  concerts  in,  Hanslick,  Ge- 
schichte des  Concert  wesens  in  Wien, 
57- 

Vienne,  buildings  of  the  Roman  time 
and  Middle  Ages  in.  See  Macgib- 
bon.  Architecture  of  Provence  and 
the  Riviera,  43. 

Vierge,  D.  See  Morin,  French  illus- 
trators, 30. 

Villemarqu^,  H.  de  la,  63. 

Vinci,  Leonardo  da,  Richter,  33,  Rio, 
33;  see  also  Sweetser,  Artist  biog- 
raphies, 36. 

Violin  (The),  and  its  music,  Hart,  57  ; 
bibliography  of,  Heron-Allen,  De 
fidiculis  bibliographia,  57 ;  and  in- 
struments played  with  a  bow,  Vi- 
dal, Les  instruments  ft  archet,  59. 

Viollet-le-Duc,  ii.  E.,  14,  36-37,  47, 
^3  ;  see  also  Huss,  ^2,  Sabine,  45. 

Violoncello  and  its  history,  Wasielew- 
ski,  59. 

Virgil,  country  of,  Boissier,  3. 

Virgin,  holy.    See  Madonna. 

Virgin  martyrs.  5>f  Jameson,  Sacred 
and  legendary  art,  26. 

Virginal.    See  Rimbault,  Pianoforte, 

Virtuosi,  Hanslick,  Concerto,  Com- 

ponisten  u.  Virtuosen,  71. 
Vischer,  L.,  37. 
Vitraux.    See  Glass. 
Vosmaer,  C,  37. 

Wagenseil,  J.  C,  68. 

Wagner,  R.,  works,  letters,  etc..  68 ; 
life  of, ~  Nohl,  65,  Finck,  67,  Glase- 
napp,  67,  llueffer,  67,  Jullien,  67-68; 
guiae  through  the  muiic  of,  Wolzo- 
gen, 68.  See  also  Wagneriana  (de- 
Wsartment),  67-69. 
agner  drama,  legends  of,  Weston, 
68;studiesin,  Krehbiel,  68.  See  also 
Wagneriana  (department),  67-69. 

Wagner  story-book.  Frost,  67. 

Wagneriana  (department),  67-69. 

Waldstein,  C,  14,  37. 

Walker,  Fred.,  Phillips,  31. 

Walker,  J.  C,  63. 

Walker^  Louisa,  53. 

Wall  painting,  Byzantine,  Diehl,  L'art 
Byzantin,  4 ;  Gothic,  Gonse,  L'art 
Gothique,  6;  Egyptian,  Van  Dyke, 
History  of  painting,  36.  See  also 
Frescoes,  Mural  painting,  Tempera, 

Wallaschek,  R.,  63. 

Ware,  C.  P.    See  Allen,  W.  F.   61. 

Waring,  J.  B.,  14. 


89 


Wasielewski,  W.  J.  von,  59,  67. 
Watrous,  H.  W.    See  Modern  French 

masters,  39. 
Watteau,  A.,  Phillips,  31;  see  also  De 

Goncourt,   L'art  du   xviu,    slide. 


W^a'l 


fatts,  T.,  14. 

Wauters,  A.  J.,  37. 

Wayte,  W.    See  Smith,  Sir  W.,  15. 

Weapons,  Maindron,  Les  armes,  51, 
see  also  Jewitt,  Half-hours  among 
s^me  Enclish  antiquities,  7;  of  an- 
cient and  modern  peoples,  Hotten- 
roth,  Le  costume,  les  armes,  uten- 
siles  outils  des  peuples  anciens  et 
mcdernes,  50. 

Weber,  Carl  Maria  von,  Benedict, 
63,  Weber,  M.M.,  67. 

Weber,  F.,  trans.    See  Elterlein,  71. 

Weber,  Baron  M.  M.  von,  67. 

Wedmore,  F.,  37;  ed.,  see  Michel, 
Rembrandt,  28, 

Weir,  J.  A.  See  Modern  French  mas- 
ters, 29. 

Weitzmann,  C.  F.,  59. 

Weston,  Jessie  L.,  68. 

Westphal,  R,,  61 ;  see  also  Ambros, 
Geschichte  der  Musik,  55 ;  Pref- 
atory note,  54. 

Whistler,  J.  M.  .See  Wedmore,  Etch- 
ing in  England,  37. 

White,  J.  W.,  74. 

Widor.  See  Hervey,  Masters  of 
French  music,  64. 

Wilkie.  See  Wedmore,  Etching  in 
England,  37. 

Willaert,  A.  See  Winterfeld,  Johan- 
nes Gabrieli  und  sein  Zeitalter,  59. 

Willard,  A.  R.,  37. 

Willeby,  C,  67. 

Williams,  C.  F.  A.,  61. 

Willis,  Rep.  R.,  47. 

Willshire,  W.  H.,  37. 

Wilson,  C.  H.,  14,  37. 

Winterfeld,  C.  von,  59. 

Woermann,  K.  See  Woltmann,  A., 
and  Woermann,  37. 

Wmfflin,  H.,  47- 

Woltinann,  A.,  owrf  Woermann,K.,  37. 

Wolzogen,  H.  von,  68:  trans.,  see 
Schur^,  68. 

Wood,  Esther,  37. 

Wood,  H.T.,37. 

Wood-carving,  Middleton,  29,  Sturgis, 
36 ;  Chinese,  see  Pal^ologue,  L'art 
Chinois,  10 ;  Indian,  De  r  orest,  39- 
40. 

Wood-engraving,  Sturgis,  36,  Cun- 
dall,  21,  Delaborde,  21,  Jackson,  25- 
26,  Linton,  28;  see  also  Century  gn\- 
lery,  18,  modern  French  masters,  29, 
Ruskin,  Ariadne  Florentina,  34, 
Smith,  American  illustrators,  35. 

Woodwork,  ancient  and  modern,  in 
the  South  Kensington  Museum,  Pol- 
len, 53. 

Wooldridge,  H.  E.  See  Chappell, 
Old  English  music,  61. 

World's  Columbian  Exposition,  fine 
arts  at.  Coffin,  3 ;  some  artists  at, 
Millet,  9. 

Worsaae,  J.  J.  A.,  53. 

Worship  music,  studies  in,  Curwen, 
70-71. 

Wortman,  Dr.  Alfr.  See  Cundall, 
Hans  Holbein,  31. 

Wren,  Christopher,  Inigo  Jones  and, 
Loftie,  43  ;  see  also  Daniell,  London 
city  churches,  39  ;  Longman,  His- 
tory of  the  three  cathedrals  dedi- 
cated to  St.  Paul,  43. 

Wright,  J.  H.,  trans.  See  CoUignon, 
Archeologie  Grecque,  4. 

Yriarte,  C,  37. 

Zahm,  Rev.  J.  A.,  70. 

Zarlino.     See  Winterfeld,   Johannes 

Gabrieli  und  sein  Zeitalter,  59. 
Zeitschri/t  fur  Instrumenteiau ,  73. 


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